DOCSLIB.ORG

The Cripple of Inishmaan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Cripple of Inishmaan The Cripple of Inishmaan June 15-19, 2011 Underwritten by WED-FRI at 8pm with lead corporate SAT 3pm & 8pm | SUN 3pm support by University Theater 222 York Street PROGRAM Druid and Atlantic Theater Company present THE CRIPPLE OF INISHMAAN by Martin McDonagh directed by Garry Hynes CAST (in order of appearance) Eileen Dearbhla Molloy Kate Ingrid Craigie* JohnnyPateenMike Dermot Crowley Billy Claven Tadhg Murphy* Bartley Laurence Kinlan* Slippy Helen Clare Dunne* BabbyBobby Liam Carney* Doctor McSharry Paul Vincent O’Connor Mammy O’Dougal Nancy E. Carroll *These actors are appearing with the permission of Actors’ Equity Association pursuant to an exchange program between American Equity and Irish Equity. TIME/PLACE 1934. The island of Inishmaan off the west coast of Ireland. ABOUT MAN OF ARAN Man of Aran was a documentary feature film directed by the American filmmak- er Robert Flaherty in 1934. It depicted the supposed “daily life” of characters living on the Aran Islands off the western coast of Ireland. Many situations were fabricated, such as one in which fishermen are almost lost at sea on a shark hunt. There will be one 15-minute intermission. 38 International Festival of Arts & Ideas PROGRAM NOTE feature film, Man of Aran, directed by American filmmaker Robert Flaherty, DRUID AND THE PLAYS OF MARTIN depicted the supposed “daily life” of MCDONAGH characters living on the Aran Islands. And so on June 26th, 2011 the island- On February 1st, 1996, Druid pre- ers on Inis Meáin will gather in the sented the first performance of a local community hall to watch actors new play by a then unknown writer, playing Inis Meáin people who during Martin McDonagh, at the Town Hall the course of the play will watch a film Theatre, Galway. The Beauty Queen about Inis Meáin people. Confused? of Leenane, and the Druid production ...you won’t be after the show! (with the Royal Court Theatre, Lon- don), went on to become a smash hit all over the world, including earning ABOUT THE an unprecedented four Tony Awards on Broadway in 1998 (with Atlantic COMPANIES Theater Company) for its Druid cast DRUID was founded by graduates and director. The Beauty Queen of of the National University of Ireland, Leenane was followed by A Skull in Galway, Garry Hynes, Mick Lally and Connemara and The Lonesome West, Marie Mullen and has had two artistic in what became known as The Leen- directors: Garry Hynes (1975–91 and ane Trilogy, which over the period of 1995 to date) and Maeliosa Stafford five years toured to 31 venues in three (1991–94). Productions include: The continents. Silver Tassie (Galway, Irish tour & UK); The Gigli Concert (Galway Arts In 2008, Druid premiered their new Festival & Irish tour); The Walworth production of The Cripple of Inish- Farce (World tour); The New Electric maan at the same Town Hall Theatre Ballroom; The Cripple of Inishmaan in Galway. With the same American (Irish & UK tour and Atlantic Theater, partner, Atlantic Theater Company, New York); Long Day’s Journey into The Cripple of Inishmaan toured the Night (Galway and Dublin Theatre length and breadth of Ireland, to Festival); Leaves (Galway and Royal Oxford and Manchester in the UK and Court Theatre, London); Empress of also played a completely sold-out India (Galway and Dublin Theatre three-month off-Broadway run at the Festival); The Year of the Hiker Atlantic Theater in New York. (Galway and Irish tour); DruidSynge (Galway Arts Festival, Dublin, On January 27th, 2011 this production Edinburgh International Festival, Inis began one of the longest tours by an Meáin; Minneapolis, Lincoln Center Irish theater company in decades with Festival New York); Sharon’s Grave; a major five-month coast-to-coast Sive; On Raftery’s Hill; The Beauty tour of the US and Ireland, includ- Queen of Leenane; The Leenane ing US stops in Ann Arbor, Berkeley, Trilogy (Royal Court co-productions); Boston, Charleston, Chicago, Los Lovers’ Meeting; Conversations on Angeles, New Haven, Washington DC, a Homecoming; Bailegangaire; The and Philadelphia and Irish stops in Shaugh-raun; The Wood of the Roscommon, Dublin and Galway. Whispering. Awards: Druid productions have won over 50 awards Fittingly, Druid’s final performance in Ireland and internationally of this extensive tour will see Druid including four Tony Awards for The return to the island of Inis Meáin itself Beauty Queen of Leenane. (titled Inishmaan in the play), where the play will be performed for the ATLANTIC THEATER COMPANY first time ever. In 1934 a documentary (Neil Pepe, Artistic Director; Jeffory 39 International Festival of Arts & Ideas Lawson, Managing Director) is the BIOGRAPHY award-winning Off-Broadway theater J. David Brimmer – Fight Director company dedicated to producing Fight Master, SAFD. Druid: The Cripple great plays simply and truthfully of Inishmaan (New York). Other utilizing an artistic ensemble. Since Theater: That Face, Speed-the-Plow, its inception, Atlantic has produced Spring Awakening, The Lieuten- over 125 productions including the ant of Inishmore, Come Back, Little Tony Award-winning play The Beauty Sheba (Broadway); Ages of the Moon, Queen of Leenane (with Druid and Equivocation, Blasted, The American Royal Court), the world premieres of Pilot, Blackbird, Bug, Killer Joe (NY Academy Award winner Ethan Coen’s premieres). David has also worked at comedies Almost an Evening and The Public, Atlantic Theater, Offices, David Mamet’s Romance and Manhattan Theatre Club, Theatre for a his adaptation of The Voysey New Audience, Dallas Theater Center, Inheritance, the musical Spring Hartford Center Stage, Baltimore Awakening, and double-bills of Harold CENTERSTAGE, Guthrie. Teaching: Pinter’s Celebration and The Room NYU/Tisch School of the Arts, RADA and The Collection and A Kind of Guest Instructor, Strasberg Institute, Alaska. Yale. Favorite collaborations: Stella Adler, Joe Chaikin, JoAnne Akalaitis, DAVID EDEN PRODUCTIONS, LTD. Ken Russell, Franco Zeffirelli. (DEP) has been one of the leading American organizations devoted to Liam Carney – BabbyBobby producing international work in the Druid: The Silver Tassie. US for over 20 years. Most recently, Other Theater: The Seafarer, Tales of DEP has produced North American Ballycumber, The Playboy of the tours of Druid’s The Walworth Farce Western World, Romeo & Juliet, and DruidSynge, presenting their Homeland, Portia Coughlan, Done productions of The Shadow of the Up Like a Kipper (Abbey Theatre); Glen and The Playboy of the Western There Came a Gypsy Riding (Livin’ World. Other recent tours include the Dred Theatre Co.); Frozen (Tall Tales); Gate Theatre Dublin’s Waiting for Mud (Corn Exchange); Studs (Passion Godot; Declan Donnellan’s Twelfth Machine); Bedbound (Dublin Theatre Night; Propeller’s The Winter’s Tale; Festival); Cruel and Tender; A Dublin Piccolo Teatro di Milano’s Arlecchino; Carol; We Ourselves. Film & Television: the Russian Patriarchate Choir of Running to Standstill, Speed Dating, Moscow; Batsheva Dance Company: Studs, Spin the Bottle, Ocras, Martin, and the State Ballet of Georgia with Tubberware, Gangs of New York, the legendary Bolshoi prima ballerina When the Sky Falls, Angela’s Ashes, Nina Ananiashvili. In 2004, David Eden The Boxer, Braveheart, Far Away, curated Lincoln Center Festival’s The Commitments, Pure Mule, The Ashton Celebration, a two-week Clinic, Single Handed, Glenroe, The centennial retrospective at the Ambassador, Ballykissangel, JJ Biker, Metropolitan Opera House celebrating Sharpes. master choreographer, Sir Frederick Ashton. Other notable proj- Nancy E. Carroll – Mammy O’Dougal ects include US tours of the Druid: The Cripple of Inishmaan marks Bolshoi Ballet; festival programs for Nancy’s debut with Druid. Other the Kennedy Center; and Theater: Present Laughter premiere presentations of (Broadway); Bailegangaire (Súgán international theater and dance Theatre Company); Brendan, The projects at the BAM Next Wave and Rose Tattoo, Dead End, Prelude to a Lincoln Center Festivals. Kiss (Huntington Theatre Company); 40 International Festival of Arts & Ideas Breath of Life, Doubt, Happy Days, of York’s); The Weir (Duke of York’s / My Old Lady (Gloucester Stage); The Gate, Dublin / Broadway); Translations Clean House, Frozen, Sweeney Todd, (Broadway); Juno (New York City Kindertransport (New Repertory Center); Dealer’s Choice (Manhattan Theatre); The Savannah Disputation, Theatre Club); Stuff Happens, Scenes Company, A Man of No Importance from the Big Picture, Amadeus, The (Speakeasy Stage); Trad (Tír Na); Year Double Dealer, Richard III, The Woman of Magical Thinking (Lyric Stage); (National Theatre); The Hostage Auntie & Me (Merrimack Repertory (RSC); A Whistle in the Dark (Abbey Theatre); Homebody/Kabul (Boston Theatre / Royal Court). Film & Theatre Works); Humble Boy, Hamlet, Television: Holy Water, Babel, The Winter’s Tale (Publick Theatre). Legend of Bagger Vance, The Son of the Pink Panther, Octopussy, Wilt, The Ingrid Craigie – Kate Return of the Jedi, Giro City, Luther, Druid: Lover’s Meeting, The Donahue Margaret, Foyle’s War, Midsomer Sisters. Other Theater: The Plough and Murders, Bleak House, Spooks, Rebel the Stars, The Man Who Came To Heart, Jonathan Creek, Falling for a Dinner, Aristocrats, Measure For Dancer, Father Ted, The Sculptress. Measure, The Glass Menagerie Radio: Frequent broadcasts on BBC (Abbey Theatre); Hedda Gabler radio include the William Trevor (Abbey Theatre / Playhouse); novels, Love and Summer and The Wonderful Tennessee (Abbey Story of Lucy Gault, for Book at Theatre / Broadway); Love in the
Load more

Recommended publications
  • Applause Magazine, Applause Building, 68 Long Acre, London WC2E 9JQ
    1 GENE WIL Laughing all the way to the 23rd Making a difference LONDON'S THEATRE CRITI Are they going soft? PIUS SAVE £££ on your theatre tickets ,~~ 1~~EGm~ Gf1ll~ G~rick ~he ~ ~ e,London f F~[[ IIC~[I with ever~ full price ticket purchased ~t £23.50 Phone 0171-312 1991 9 771364 763009 Editor's Letter 'ThFl rul )U -; lmalid' was a phrase coined by the playwright and humourl:'t G eorge S. Kaufman to describe the ailing but always ~t:"o lh e m Broadway Theatre in the late 1930' s . " \\ . ;t" )ur ul\'n 'fabulous invalid' - the West End - seems in danger of 'e:' .m :: Lw er from lack of nourishmem, let' s hope that, like Broadway - presently in re . \ ,'1 'n - it too is resilient enough to make a comple te recovery and confound the r .: i " \\' ho accuse it of being an en vironmenta lly no-go area whose theatrical x ;'lrJ io n" refuse to stretch beyond tired reviva ls and boulevard bon-bons. I i, clUite true that the season just past has hardly been a vintage one. And while there is no question that the subsidised sector attracts new plays that, =5 'ears ago would a lmost certainly have found their way o nto Shaftes bury Avenue, l ere is, I am convinced, enough vitality and ingenuity left amo ng London's main -s tream producers to confirm that reports of the West End's te rminal dec line ;:m: greatly exaggerated. I have been a profeSSi onal reviewer long enough to appreciate the cyclical nature of the business.
    [Show full text]
  • Studies in Irish Craniology (Aran Islands, Co. Galway)
    Z- STUDIES IN IRISH ORANIOLOGY. (ARAN ISLANDS, CO. GALWAY.) BY PROFESSOR A. C. HADDON. A PAPER Read before the ROYAL IRISH ACADEMY, December 12, 1892; and “ Reprinted from the Procrrimnos,” 3rd Ser., Vol, II.. No. 5. \_Fifty copies only reprinted hy the Academy for the Author.] DUBLIN: PRINTED AT THE UNIVERSITY PRESS, BY PONSONBY AND WELDRICK, PKINTBRS TO THB ACAHRMY. 1893 . r 759 ] XXXVIII. STUDIES IN lEISH CKANIOLOGY: THE ARAN ISLANDS, CO. GALWAY.* By PROFESSOR A. C. HADDON. [Eead December 12, 1892.] The following is the first of a series of communications which I pro- pose to make to the Academy on Irish Craniology. It is a remarkable fact that there is scarcely an obscure people on the face of the globe about whom we have less anthropographical information than we have of the Irish. Three skulls from Ireland are described by Davis and Thumam in the “Crania Britannica” (1856-65); six by J. Aitken Meigs in his ‘ ‘ Catalogue of Human Crania in the Collection of the Academy of Natural Sciences of Philadelphia ” two by J. Van der Hoeven (1857) ; in his “ Catalogus craniorum diversarum gentium” (1860); thirty- eight (more or less fragmentary), and five casts by J. Barnard Davis in the “Thesaurus craniorum” (1867), besides a few others which I shall refer to on a future occasion. Quite recently Dr. W. Frazer has measured a number of Irish skulls. “ A Contribution to Irish Anthropology,” Jour. Roy. Soc. Antiquarians of Ireland, I. (5), 1891, p. 391. In addition to three skuUs from Derry, Dundalk, and Mary’s Abbey, Dublin, Dr.
    [Show full text]
  • Shakespeare on Film, Video & Stage
    William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994.
    [Show full text]
  • Redalyc.DRUID THEATRE's ECONOMICS: the FIRST DECADE
    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 Troupe, Shelley DRUID THEATRE’S ECONOMICS: THE FIRST DECADE Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 58, enero-junio, 2010, pp. 459-478 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348696022 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 Druid Theatre's Economics: the First Decade 459 DRUID THEATRE’S ECONOMICS: THE FIRST DECADE Shelley Troupe National University of Ireland Galway Abstract: This article considers the relationship between Druid Theatre’s productions and its administration during the company’s first decade by investigating the links between three features: the company’s fundraising practices; Druid’s infrastructure development in terms of personnel and physical space; and the organisation’s programming choices. Druid’s artistic partnership with Irish playwright Tom Murphy is also examined as it assisted in launching Druid’s international touring when Murphy’s Conversations on a Homecoming was the first Druid production to travel outside of the United States/United Kingdom festival circuit. Keywords: Druid Theatre, Tom Murphy, Ireland, funding, Irish theatre. Druid Theatre commenced production in the summer of 1975 with a repertory of three plays: J.M. Synge’s The Playboy of the Western World, Brian Friel’s The Loves of Cass Maguire and Kevin Laffan’s It’s a Two Foot Six Inches Above the Ground World.
    [Show full text]
  • Energy Audit on Aran Islands
    2015-10-22 ENERGY AUDIT ON THE ARAN ISLANDS Energy audit on the Aran Islands 1 Introduction 2 2 Abstract 3 3 Facts 4 4 The culture and identity of the Aran Island 10 5 Optimism 12 6 Pessimism 12 7 Possibilities 13 8 Action Plan 14 1 (15) ENERGY AUDIT ON THE ARAN ISLANDS Christian Pleijel [email protected] Tel +358-457-342 88 25 ENERGY AUDIT ON THE ARAN ISLANDS 1 Introduction In 2014, the Aran Islands joined the SMILEGOV1 prOject thrOugh its membership in the Comhdháil Oileáin na hÉireann (Irish Islands AssOciatiOn) and subse- quently in the European Small Islands Federation (ESIN). The objectives of SMILEGOV, funded by the IEE at the EurOpean COmmissiOn, is to establish a clear picture Of the island’s energy cOnsumptiOn, its emissiOns and hOw it is it supplied with energy, moving intO an actiOn plan fOr a more sustainable future, and to invite the island to join the Pact of Islands2. 1.1 Process The wOrk has mainly been carried Out by SeniOr AdvisOr Christian Pleijel, fOr- merly at SwecO, nOw an independent cOnsultant and the Vice President Of ESIN (European Small Islands Federation), with the kind help of Mr Ronan MacGiol- lapharaic at the Fuinneamh Oileáin Árann (Aran Islands Energy), support frOm the Irish Islands AssOciatiOn and frOm the Cork County Council. 1.2 Methodology The island has been Observed frOm six different perspectives, a methOd de- scribed and used in Christian Pleijel’s bOOk On the small islands Of EurOpe3: (1) Facts, (2) Identity and culture, (3) Optimism, (4) Pessimism, (5) POssibilities, and (6) ActiOns.
    [Show full text]
  • An Abstract of the Thesis Of
    AN ABSTRACT OF THE THESIS OF Nicolas Evans for the degree of Master of Arts in English presented on June 2, 2017. Title: (Mis)representation & Postcolonial Masculinity: The Origins of Violence in the Plays and Films of Martin McDonagh. Abstract approved: ______________________________________________________ Neil R. Davison This thesis examines the postmodern confrontation of representation throughout the oeuvre of Martin McDonagh. I particularly look to his later body of work, which directly and self-reflexively confronts issues of artistic representation & masculinity, in order to gain a more nuanced understanding of his earliest and most controversial plays. In part, this thesis addresses misperceptions regarding The Leenane Trilogy, which was initially criticized for the plays’ shows of irreverence and use of caricature and cultural stereotypes. Rather than perpetuating propagandistic or offensive representations, my analysis explores how McDonagh uses affect and genre manipulation in order to parody artistic representation itself. Such a confrontation is meant to highlight the inadequacy of any representation to truly capture “authenticity.” Across his oeuvre, this postmodern proclivity is focused on disrupting the solidification of discourses of hyper-masculinity in the vein of postcolonial, diasporic, and mainstream media’s constructions of masculinity based on aggression and violence. ©Copyright by Nicolas Evans June 2, 2017 All Rights Reserved (Mis)representation & Postcolonial Masculinity: The Origins of Violence in the Plays and Films of Martin McDonagh by Nicolas Evans A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented June 2, 2017 Commencement June 2017 Master of Arts thesis of Nicolas Evans presented on June 2, 2017 APPROVED: Major Professor, representing English Director of the School of Writing, Literature, and Film Dean of the Graduate School I understand that my thesis will become part of the permanent collection of Oregon State University libraries.
    [Show full text]
  • Terrain of the Aran Islands Karen O'brien
    Spring 2006 169 ‘Ireland mustn’t be such a bad place so’: Mapping the “Real” Terrain of the Aran Islands Karen O’Brien Martin McDonagh’s The Cripple of Inishmaan (1996) responds to and encodes the complexities of representational and ecological issues surrounding life on the rural landscape of the Aran Islands. The three islands that constitute the Aran Islands—Inisheer, Inishmaan, and Inishmore—occupy a unique and dual position of marginality and liminality; they not only reside off the border of the western coast of Ireland but also inhabit an indeterminate space between America and Europe. The archipelagos are described by Irish poet Seamus Heaney as a place “Where the land ends with a sheer drop / You can see three stepping stones out of Europe.”1 Inishmaan employs three strategic interrogations—representation, structure, and aesthetics—that coincide with the project of collaborative ecology. The first strategy juxtaposes two contrasting representations of Ireland’s 1930s rural west, problematizing the notion of a definable Irishness in relation to the unique Arans landscape. Inishmaan revolves around the filming of the American documentary Man of Aran (1934), which claims authenticity in its representation of actual island residents. McDonagh’s depiction of the Aran community, however, contradicts the documentary’s poetic vision of the Aran Islands as a pristine landscape. In scene eight, for example, the screening of Man of Aran does not reflect a mirror image of the Aran residents represented in the play; the film, contrarily, incites mockery. Despite its claim of historical authenticity and authority, the documentary proves fictional. Inishmaan contests the legitimacy of Man of Aran explicitly as well as a history of romanticized notions of western Irish identity implicitly.
    [Show full text]
  • The Pillowman
    THE PILLOWMAN Company B presents THE PILLOWMAN Written by MARTIN McDONAGH Directed by CRAIG ILOTT The Company B production of The Pillowman opened at Belvoir St Theatre on 4 June 2008 Set Designer NICHOLAS DARE Costume Designer JO BRISCOE Lighting Designer NIKLAS PAJANTI Composer & Sound Designer JETHRO WOODWARD Assistant Sound Designer CHRIS MERCER Fight Director KYLE ROWLING Stage Manager KYLIE MASCORD Assistant Stage Manager SARAH SMITH NIDA Secondment (Stage Management) ISABELLA KERDIJK NIDA Secondment (Technical) JACK HORTON Consultant Clinical Psychologist DR RACHAEL MURRIHY (BA PGDip DPsych) With AMANDA BISHOP Mother MARTON CSOKAS Tupolski LAUREN ELTON Girl DAMON HERRIMAN Katurian STEVE RODGERS Michal DAVID TERRY Father DAN WYLLIE Ariel PRODUCTION THANKS: Chameleon Touring Systems, Kylie Clarke, CODA Audio, Joel Edgerton, Dr Tony Kidman and the UTS Health Psychology Unit, Maurice Menswear Marrickville, Kirsty McGregor, Neil Phipps, Thomas Creative, David Trethewey and Martin McDonagh’s agent – The Rod Hall Agency Limited of 6th Floor Fairgate House 78 New Oxford St London WC1A 1HA. The Pillowman was first presented by the National Theatre at the Cottesloe, London, directed by John Crowley, on 13 November 2003. The production was subsequently produced on Broadway by the National Theatre, Robert Boyett Theatricals LLC and RMJF Inc. in association with Boyett Ostar, Robert Fox, Arielle Tepper, Stephanie P. McClelland, Debra Black, Dede Harris / Cover Image: Alex Craig Morton Swinsky / Roy Furman / Jon Avnet in association with Joyce Schweickert, Photography: Heidrun Löhr opening at the Booth Theatre, New York City, on 10 April 2005. DESIGN: Tim Kliendienst DIRECTOR’S NOTE Katurian: A great man once said is the relationship between art and ‘The first duty of a storyteller is to politics? And perhaps a key question tell a story’.
    [Show full text]
  • 15-L. Films Abra Ensemble Yaron Abulafia
    Bios of PQ Projects Participants | Page 1 15-L. FILMS Sala Beckett / Theatre and International Drama Centre (Performance Space Exhibition) 15-L. FILMS is a production company based in Barcelona, created in 2013 by Carlota Coloma and Adrià Lahuerta. They produce documentaries for cinema and other platforms, and for agencies and clients who want to explore the documentary genre in all its possibilities. Their productions have been selected and awarded in many festivals: MiradasDoc, Milano International Documentary Festival, HotDocs and DOCSMX among others. They have been selected to participate in several workshops and pitches such as: IDW Visions du Réel; Cross Video Days; Docs Barcelona. ABRA ENSEMBLE Hall I + Abra Ensemble (Performance Space Exhibition) ABRA Ensemble's works aspire to undermine existing power structures as they express themselves in the voice, language patterns and ways of speech. They seek rather communal, feminist strategies of composition, listening and creative-coexistence. Exposing the emergence of the music itself, ABRA Ensemble bridges the existing limits between contemporary virtuoso vocal art and the performative, transformative encounter with an audience. In the five years since its founding in 2013, the ensemble has performed at a diverse range of venues in Israel and Europe, released a debut album and gained considerable recognition both in the new-music and contemporary performance scene. YARON ABULAFIA Jury Member 2019 / PQ Ambassador Yaron Abulafia has designed over 200 theatre and dance performances, installations, concerts and television shows internationally. He has designed for the Netherlands Dans Theater, the English National Ballet, Rambert Dance Company, Staatsballett Berlin, Danza Contemporanea de Cuba and the Hungarian State Theatre of Cluj in Romania – to mention but a few.
    [Show full text]
  • The Lady in the Van
    BBC Films THE LADY IN THE VAN Directed by Nicholas Hytner Written by Alan Bennett from his memoir 103 min East Coast Publicity West Coast Publicity Distributor Springer Associates PR Block-Korenbrot Sony Pictures Classics Gary Springer Eric Osuna Carmelo Pirrone 1501 Broadway, Suite 506 6100 Wilshire Blvd., Ste 170 Maya Anand New York, NY 10036 Los Angeles, CA 90048 550 Madison Ave. 212-354-4660 tel 323-634-7001 tel New York, NY 10022 [email protected] 323-634-7030 fax 212-833-8833 tel 212-833-8844 fax CREDITS CAST Maggie Smith MISS SHEPHERD Alex Jennings ALAN BENNETT Jim Broadbent UNDERWOOD Frances De La Tour MRS VAUGHAN WILLIAMS Roger Allam RUFUS DIRECTED BY Nicholas Hytner WRITTEN BY Alan Bennett from his memoir EXECUTIVE PRODUCERS Christine Langan, Ed Wethered, Charles Moore, Miles Ketley PRODUCERS Kevin Loader, Nicholas Hytner, Damian Jones DIRECTOR OF PHOTOGRAPHY Andrew Dunn PRODUCTION DESIGNER John Beard EDITOR Tariq Anwar COMPOSER George Fenton COSTUME DESIGNER Natalie Ward HAIR AND MAKE UP DESIGNER Naomi Donne CASTING DIRECTOR Toby Whale SYNOPSIS Alan Bennett’s story is based on the true story of Miss Shepherd (played by a magnificent Maggie Smith), a woman of uncertain origins who “temporarily” parked her van in Bennett’s London driveway and proceeded to live there for 15 years. What begins as a begrudged favor becomes a relationship that will change both their lives. Filmed on the street and in the house where Bennett and Miss Shepherd lived all those years, acclaimed director Nicholas Hytner reunites with iconic writer Alan Bennett (The Madness of King George, The History Boys) to bring this rare and touching portrait to the screen.
    [Show full text]
  • Maryland Ensemble Theatre Presents the Lieutenant of Inishmore
    31 W. Patrick Street Frederick, MD 21701 CONTACT: Dan Brick 301.694.4744 PRESS RELEASE marylandensemble.org (301) 694-4744 ext. 303 [email protected] marylandensemble.org/press MARYLAND ENSEMBLE THEATRE PRESENTS THE LIEUTENANT OF INISHMORE Press Night: Sunday, April 13 @ 7pm (Reception @ 6pm) RSVP to [email protected] or 301.694.4744 FREDERICK, MD (March 24, 2014) - Maryland Ensemble Theatre (MET) is proud to present Martin McDonagh’s award winning play “The Lieutenant of Inishmore”. The dark Irish comedy will be directed by MET’s founding Artistic Director, Tad Janes. “‘The Lieutenant of Inishmore’ is a play that grabs you with comedy and takes you on a ride like no other play I know”, said Janes. “I’ve always been a fan of McDonagh’s plays. They are always funny, quirky, and have interesting themes and characters. When we selected plays for the season this one was a clear favorite within the Ensemble” “The Lieutenant of Inishmore” will run every Thursday through Sunday (except Easter Sunday) at Maryland Ensemble Theatre from April 10 through May 4. “The Lieutenant of Inishmore” is set in 1993 when the Northern Ireland peace process is struggling to come together and Mad Padraic, a member of the Irish National Liberation Army, chooses to leave Belfast and return to Inishmore upon the news that his beloved cat is ill. When he returns home he learns that his cat has in fact suffered a much more tragic and immediate fate. Padraic, a man whose mentally instability is legendary, is now intent on revenge at any costs.
    [Show full text]
  • 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.
    [Show full text]