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The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
New Threads 2021 Staged Reading Series by Hassan Abdulrazzak
New Threads 2021 Staged Reading Series by Hassan Abdulrazzak, Hannah Khalil and Mona Mansour directed by Evren Odcikin Cast Love in the Time of by Mona Mansour Lee Gianna DiGregorio Rivera* Sam Abraham Makany* Will Patrick Russell* Helen Elissa Beth Stebbins* A Delicate Poison by Hassan Abdulrazzak Carla Gianna DiGregorio Rivera* Dan John Ferreira Fabio Abraham Makany* Chris Liam Vincent* The Cure by Hannah Khalil MaaMaa Nora el Samahy* Mummy Elissa Beth Stebbins* Nurse Gianna DiGregorio Rivera* Voice Liam Vincent* The Believers by Mona Mansour Charlotte Nora el Samahy* Brock Patrick Russell* Stage Manager Lisa Tateosian Zoom Manager Wendy Reyes * Member of Actor’s Equity Hassan Abdulrazzak’s plays include The Special Relationship (Soho Theatre, 2020), And Here I Am (Arcola Theatre, 2017 and UK tour; Europe, Middle East and Africa tour, 2018-2019), Love, Bombs and Apples (Arcola Theatre, 2016 and UK tour; Golden Thread, San Francisco, 2018 followed by a second UK tour; Kennedy Centre, Washington DC, 2019), The Prophet (Gate theatre, 2012) and Baghdad Wedding (Soho Theatre, London 2007; BBC Radio 3, 2008; Belvoir St Theatre, Sydney 2009; Akvarious productions, Delhi & Mumbai 2010). He had translated numerous Arabic language plays including Chronicles of a City We Never Knew by Wael Qadour (reading at the Gate Theatre 2019), Voluntary Work by Laila Soliman (reading at The Royal Court Theatre 2012) and 603 by Imad Farajin (reading at the Royal Court Theatre 2008). He has adapted Baghdad Wedding into a feature film for Focus Features, wrote an original screenplay called Cutting Season about FGM for New Century. He has also written four episodes for HWJN, an upcoming TV series commissioned by O3 and Image Nation productions. -
Enda Walsh's the Walworth Farce
Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Jordan, Eamonn “STUFF FROM BACK HOME:” ENDA WALSH’S THE WALWORTH FARCE Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 58, enero-junio, 2010, pp. 333-356 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348696016 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative "Stuff from Back Home:"... 333 “STUFF FROM BACK HOME:”1 ENDA WALSH’S THE WALWORTH FARCE Eamonn Jordan University College Dublin Abstract: Since its first performance in 2006 by Druid Theatre Company, Enda Walsh’s award-winning The Walworth Farce has toured Ireland, Britain, America, Canada, New Zealand and Australia to great acclaim, with the brilliance of the directing, design and acting engaging with the intelligence and theatricality of Walsh’s script. The play deals with a family, who as part of a daily enforced ritual, re-enact a farce, written and directed by Dinny, the patriarch, a story which accounts for their exile in London, and away from their family home in Cork. Their enactment is an attempt to create a false memory, for their performance is very much at odds with the real events which provoked their exile. Keywordsds: Enda Walsh, The Walworth Farce, Druid Theatre, Farce, Performance, Diasporic. -
Tadhg Murphy
Tadhg Murphy | Represented by Susannah Norris Tadhg most recently filmed Guy Ritchie’s WRATH OF MAN alongside Jason Statham, Niamh Algar, and Holt McCallany, the role of Nigel Braynor in RED ELECTION directed by Jill Robertson for A&E Studios, and Robert Eggers’ feature THE NORTHMAN. In 2019 he filmed the role of Kristophe in ABSENTIA for Amazon Studios, season two of Sky One’s BRASSIC (returning to his role as Gary Cullen), MISS SCARLET AND THE DUKE with Kate Philips for A+E Studios, the role of Ray Miller opposite Gemma-Leah Devereux in the feature DEAD HAPPY, and BLOODMOON directed by SJ Clarkson for HBO. Further recent credits include the feature adaptation of Caitlin Moran’s HOW TO BUILD A GIRL directed by Coky Giedroyc, COUNTERPART for Starz, and the part of Johann opposite Tanya Reynolds in the forthcoming BFI-backed feature UNDERGODS, directed by Chino Moya. Most recent stage credits include the role of Damus opposite Ruth Negga’s PORTIA COUGHLAN in a rehearsed reading of the play directed by Caroline Byrne for Kwame Kwei-Armah at the Young Vic, BALLYTURK written and directed by Enda Walsh, which ran at St. Ann’s Warehouse in New York to excellent reviews, and BAD ROADS opposite Ria Zmitrowicz, which was directed by Vicky Featherstone at the Royal Court Theatre, London. Tadhg is Dublin based. Playing Age: 30 - 40 Height: 5 ft. 8” Hair: Brown, shoulder-length Eyes: Blue Full driver’s licence and motorcycle licence FILM THE NORTHMAN | Eirikr Blaze-Eye New Regency Robert Eggers WRATH OF MAN | Shirley Miramax Guy Ritchie -
A Coping Strategy
CORE Metadata, citation and similar papers at core.ac.uk Provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit „Memory In Contemporary Irish Drama“ Verfasserin Stefanie Nestreba angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2012 Studienkennzahl lt. Studienblatt: A 190 344 020 Studienrichtung lt. Studienblatt: UF Englisch 344, UF Kath. Religion 020 Betreuer: Univ.-Prof. Dr. Werner Huber ACKNOWLEDGEMENTS I would like to express my warmest thanks to all those people who have supported me in the course of my studies and during the writing process of this diploma thesis. First, I owe my deepest gratitude to my supervisor Prof. Dr. Werner Huber, since this thesis would not have been possible unless he had raised my interest in the subject area of Irish Literature. I am particularly grateful to Prof. Dr. Werner Huber for all his words of advice, encouragement and guidance. I would also like to show my gratitude to my teachers, in particular to my teacher from elementary school, Maria Rudolph, whose way of teaching has inspired me to pursue the profession of a teacher myself. Furthermore, I am heartily thankful to my friends, especially to Manuela Kopper, who has been my personal motivational coach and has emotionally supported me throughout the working process of this thesis. I would like to thank my dear friend, Nicky Sells from England. Her careful reading and her constructive commenting on the drafts of this thesis deserve my sincere thanks. Moreover, it is a pleasure to thank my fiancé, Thomas Buchgraber, for his patience and motivation. It was his challenging task to motivate me, listen to me patiently and endure all my good and bad times. -
Redalyc.CONTEMPORARY IRISH THEATRE
Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Kopschitz X. Bastos, Beatriz; O’Shea, José Roberto CONTEMPORARY IRISH THEATRE: A DYNAMIC COLLECTION OF CRITICAL VOICES Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 58, enero-junio, 2010, pp. 11-22 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348696001 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Contemporary Irish Theatre... 11 CONTEMPORARY IRISH THEATRE: A DYNAMIC COLLECTION OF CRITICAL VOICES The current issue of Ilha do Desterro explores aspects of contemporary Irish theatre, within the island of Ireland and in its international contexts, after 1950: this is the first publication in Brazil dedicated specifically to critical contribution in this field. The articles by scholars and theatre practitioners from various countries apart from Brazil and Ireland, such as The United States, France, Italy, Germany, and the Czech Republic, address the work of individual writers as well of theatre groups, considering textual and performance practices, most of them not confined to the areas of theatre and literature, but including considerations on other fields of knowledge such as politics, economics, history, philosophy, media and film studies, arts and psychology. Carefully and passionately written, the texts feature a variety of theoretical frameworks and research methods. -
Enda Walsh's Disco Pigs (1997), the New Electric Ballroom (2004) and the Walworth Farce (2006)
First time tragedy, second time farce: Enda Walsh©s Disco pigs (1997), The New Electric Ballroom (2004) and The Walworth farce (2006) Article (Published Version) McEvoy, William (2014) First time tragedy, second time farce: Enda Walsh's Disco pigs (1997), The New Electric Ballroom (2004) and The Walworth farce (2006). C21: Journal of 21st-century Writings, 3 (1). pp. 1-17. ISSN 2045-5216 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/53493/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. -
Introduction to Ecovenue Ecovenue Is a Signifi Cant Theatre-Specifi C Environmental Project Being Run by the Theatres Trust
Introduction to Ecovenue Ecovenue is a signifi cant theatre-specifi c environmental project being run by The Theatres Trust. It aims to improve the environmental performance of forty-eight London theatres and raise awareness of how to make theatres greener. Ecovenue is promoting the sustainability of theatres and the reduction of carbon emissions through the provision of free theatre-specifi c, environmental advice. The project started in 2009 and runs until 2012. Forty-eight venues each undergo an Environmental Audit, and receive a Display Energy Certifi cate (DEC) and Advisory Report. They track their energy use through SMEasure. Each venue receives a second DEC a year after their fi rst to measure progress. Ecovenue includes a ‘DEC Pool’ of performing arts venues across the UK that have obtained DECs. The DEC Pool helps us to evaluate the project and share best practice and information, establish meaningful benchmarks, and provide a better understanding of energy use of theatres. Any theatre can join the DEC Pool. The Trust’s Theatres Magazine provides quarterly reports on the participants and the work of the Ecovenue project. The Theatres Trust Ecovenue project receives fi nancial support from the European Regional Development Fund. Participating Theatres Albany Theatre Etcetera Theatre Old Vic Arcola Finborough Theatre Orange Tree Theatre Arts Theatre Gate Theatre Pleasance Islington artsdepot Greenwich & Lewisham Young Polka Theatre Brockley Jack People’s Theatre Putney Arts Theatre Bush Theatre Greenwich Playhouse Questors Camden People’s -
Girl from the North Country to Return to the West End for Eight Weeks Only
PRESS RELEASE – 21 June 2019 GIRL FROM THE NORTH COUNTRY TO RETURN TO THE WEST END FOR EIGHT WEEKS ONLY Written and Directed by Conor McPherson Music and Lyrics by Bob Dylan Gielgud Theatre Previews from 10 December, press night 16 December The critically-acclaimed hit Girl from the North Country, written and directed by Conor McPherson with music and lyrics by Bob Dylan, is to play at the Gielgud Theatre in the West End for a limited season from 10 December 2019 to 1 February 2020. Girl from the North Country opens in the West End following a run at the Royal Alexandra Theatre, Toronto, opening 28 September 2019, and prior to the Broadway production opening in March 2020 at The Belasco Theatre. ‘An instant classic’ The Times ***** ‘Piercingly beautiful’ The Independent ***** ‘Conor McPherson weaves magic with Bob Dylan’s songs’ The Observer ***** ‘A Ravishing Production! Bob Dylan’s songs have never sounded so heartbreakingly personal and universal. As close as mortals come to heaven on earth’ New York Times The full cast for Girl from the North Country at the Gielgud Theatre includes Daniel Bailey (Ensemble), Colin Bates (Gene Laine), Katie Brayben (Elizabeth Laine), Anna Jane Casey (Mrs Burke), Nicholle Cherrie (Ensemble), David Ganly (Mr Burke), Simon Gordon (Ensemble), Steffan Harri (Elias Burke), David Haydn (Ensemble), Rachel John (Mrs Neilsen), Sidney Kean (Mr Perry), Finbar Lynch (Reverend Marlowe), Donald Sage Mackay (Nick Laine), Gloria Obianyo (Marianne), Ferdy Roberts (Dr Walker), Wendy Somerville (Ensemble), Gemma Sutton (Katherine Draper), Shaq Taylor (Joe Scott) and Alan Vicary (Ensemble). Girl from the North Country opened at The Old Vic in July 2017 to huge critical acclaim and playing to sold out audiences. -
The Undecidable
The Undecidable The Undecidable: Jacques Derrida and Paul Howard By Clare Gorman The Undecidable: Jacques Derrida and Paul Howard By Clare Gorman This book first published 2015 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Clare Gorman All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-7646-1 ISBN (13): 978-1-4438-7646-9 To my Mother, Mairéad TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................ ix FOREWORD .................................................................................................. xi PROFESSOR JOHN BRANNIGAN INTRODUCTION ............................................................................................. 1 CHAPTER ONE .............................................................................................. 7 DECONSTRUCTIVE STRATEGY PART I. DERRIDA AND HIS SYSTEM OF IDEAS PART II. THE NOTION OF A CENTRE PART III. BINARY OPPOSITIONS—EXAMPLES FROM HIGH LITERATURE AND POPULAR LITERATURE CHAPTER TWO ........................................................................................... 17 THE REALM OF UNDECIDABILITY PART I. LISTENING -
December Next Wave Festival Performances at BAM Fisher
December Next Wave Festival Performances at BAM Fisher Dec 3—6: The world premiere Jessica Lang’s The Wanderer, a story ballet based on Franz Schubert’s Die schöne Müllerin, with live accompaniment by pianist Tyson Deaton and vocalist Steven LaBrie Dec 10—14: A one-man remounting of Mark O’Rowe’s critically acclaimed Howie the Rookie featuring Tom Vaughan-Lawlor, presented in association with Irish Arts Center Bloomberg Philanthropies is the 2014-2015 Season Sponsor Time Warner Inc. is the BAM 2014 Next Wave Festival Sponsor BAM Fisher (Fishman Space, 321 Ashland Pl) All tickets: $20 Brooklyn, NY/October 23, 2014—BAM Fisher performances as part of the 2014 Next Wave Festival culminate in December with an elaborate story ballet and a critically- acclaimed one-man show. Designed as an intimate and flexible performance space for both emerging and established artists, the BAM Fisher became part of the BAM campus in the fall of 2012. All tickets are $20. The Wanderer World Premiere Jessica Lang Dance Choreography by Jessica Lang Lighting design by Nicole Pearce Visual Concept by Jessica Lang Set design by Mimi Lien BAM Fisher (Fishman Space), 321 Ashland Pl Dec 3—6 at 7:30pm Tickets: $20 Master Class: Jessica Lang Dance With Jessica Lang and company members Dec 4 at 12pm Mark Morris Dance Center (3 Lafayette Ave) Price: $20 BAM.org/master-classes Hailed as “a master of visual composition” (Dance Magazine), Jessica Lang makes her BAM debut with The Wanderer, a narrative ballet set to Franz Shubert’s Die schöne Müllerin—a song cycle based on poems by Wilhelm Müller. -
2012, Annual Report
ABBEY THEATRE AMHARCLANN NA MAINISTREACH 2012 Annual Report ABBEY THEATRE AMHARCLANN NA MAINISTREACH 2012 Annual Report Annual Report 2012 CONTENTS Director's Report 8 Financial Overview 14 Our Impact 16 Artistic Programme 18 Awards 28 Literary Programme 30 Abbey Theatre Archive 34 Community & Education Programme 36 Talks 40 Artistic Development Programme 44 Abbey Theatre Staff 46 Supporters & Members 48 Gallery & Reviews 50 Financial Statements Extract 65 5 Annual Report 2012 As Ireland’s national theatre, our mission is to create a world class national theatre that actively engages with and reflects Irish society. The Abbey Theatre invests in, nurtures and promotes Irish theatre artists. We do this by placing the writer and theatre-maker at the heart of all that we do, commissioning and producing exciting new work and creating discourse and debate on the political, cultural and social issues of the day. Our aim is to present great theatre art in a national context so that the stories told on stage have a resonance with audiences and artists alike. The Abbey Theatre produces an ambitious annual programme of Irish and international theatre across our two stages and on tour in Ireland and internationally, having recently toured to Edinburgh, London, New York and Sydney. The Abbey Theatre is committed to building the Irish theatre repertoire, through commissioning and producing new Irish writing, and re-imagining national and international classics in collaboration with leading contemporary talent. Over the years, the Abbey Theatre has premiered the work of major Irish playwrights such as J.M. Synge and Sean O’Casey as well as contemporary classics from Sebastian Barry, Marina Carr, Bernard Farrell, Brian Friel, Frank McGuinness, Thomas Kilroy, Tom MacIntyre, Tom Murphy, Mark O’Rowe and Billy Roche.