Features

Letting go the desire to express

by Michael Seaver on 02 May 2012

Choreographic primers used to be dull enough reads. Compulsory reading for unimaginatively titled courses, like Dance Composition, they rarely led aspiring choreographers to greatness (although their building-block approach helped many uninspired dancers to scrape through an obligatory course in choreography)....

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Singing Out Your Feelings

by Fintan Walsh on 30 March 2012

Fintan: Wayne, you’re coming straight from rehearsals for Alice in Funderland. How have they been going? Wayne: We’re at a stage now where things are starting to happen very quickly. There’s a lot of material to learn, and now that people know it, things can move more quickly, so that’s...

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It's time to walk the wire

by Phillip McMahon on 27 March 2012

"You get one chance to dance To stand in the fire One shot to explode It’s time to walk the wire" ...is just one set of lyrics to hit the Alice In Funderland rehearsal room floor in an epic culling of text and song this week. Cutting favourite scenes, lines, and in this case...

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Cripping up - Copping on

by Rosaleen McDonagh on 10 March 2012

‘In Peeling I wanted to create women who were witty, sexy, complex human beings who made difficult decisions about their fertility and potential offspring; women whose lives didn’t necessarily differ so much from non-disabled, hearing women’s lives.’ Kaite O’Reilly, playwright. Peeling,...

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The Transformative Power of Having Fun: Alternative Miss Ireland and Contemporary Irish Theatre

by Fintan Walsh on 21 February 2012

Emerging from Dublin’s LGBT community, and cruising the tail end of a recession, the first AMI took place in Sides nightclub in 1987, run by Frank Stanley, Ross Elliot Tallon and Niall Sweeney. It didn’t take place again until 1996, three years after the decriminalisation of male homosexuality,...

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Gary Mitchell - An independent voice

by Jane Coyle on 20 February 2012

His plays, for stage and radio, did not to make for comfortable viewing, given their uncompromising portrayal of violent political and paramilitary feuding and bitter domestic conflict within a closed, intensely private world. They offered a new, unfamiliar and uneasy version of Irishness, not previously...

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Confidence and sure-footedness: Irish Contemporary Dance in 2011

by Michael Seaver on 30 January 2012

Much of what happened in dance during 2011 gave hope for the future. But some of what happened gave fear for the past. Emerging choreographers came of age, organisations celebrated anniversaries and new developments countered the bleakness caused by growing unemployment, emigration and general social...

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I try to get under the skin

by Fintan Walsh on 12 December 2011

Fintan Walsh interviews Nancy Harris, whose play No Romance premiered at the Peacock earlier this year and discusses her adaptation of Tolstoy’s The Kreutzer Sonata and her new play Our New Girl, both of which open in London in January. Fintan Walsh: Most readers of Irish Theatre Magazine will...

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NO MORE DRAMA - Rimini Protokoll: A Live Archive of the Everyday

by Christiane Kühl on 20 October 2011

In Germany, in 2002, the hitherto largely unknown group, Rimini Protokoll, gained instant national attention with a project that almost did not take place at all. Two men who played a significant role in this were Matthias Lilienthal — who would become director of the Berlin theatre, Hebbel am...

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Geography and community: Louise Lowe's four-part artistic vision

by Jesse Weaver on 21 September 2011

I’m standing inside at the glassed-in apex of one The LAB’s ground floor galleries, per the instructions of director Louise Lowe. Actor Dee Burke charges towards the glass and knocks on it. Hard. A group of neighborhood kids passing by joins in. She motions for me to come outside and I choose...

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