Features

Fleeting connections and sauna diplomacy

by Peter Crawley on 19 August 2010

The Hangaslahti sauna, about twenty minutes outside the city of Tampere, is a distinctly Finnish model of prudent seclusion and unreserved display. A wooden lodge nestled into a forest of silver birch trees beside a clear water lake, it was built in 1968, renovated in 2006, and now stands as something...

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A London Letter: Women, Power and Politics

by Karen Fricker on 24 June 2010

I went along needing to be convinced. For the third time in two years, London’s Tricycle Theatre has undertaken a day-long themed play series: following on from “The Great Game”, about Afghanistan, and “Not Black and White”, about race in Britain, the latest is “Women,...

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Taking roads less travelled

by Peter Crawley on 17 June 2010

Dylan Tighe doesn’t tend to stay still for long. In 2001, shortly after graduating with a degree in Spanish and Italian from Trinity College Dublin, the actor, director and writer began travelling around the Balkans, primarily fascinated by acquiring new languages: from Bosnia to Serbia, Croatia...

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Scenes from a Siberian youth

by Rachel Andrews on 08 June 2010

It is a bright summer’s day, but inside the Savoy Theatre the lighting is dimmed, with heavy velvet curtains, a long bar and stairs winding upwards to a second floor. Empty of its evening revellers, the space is moody and atmospheric, an apt choice of location for the urban hell chronicled in Plasticine...

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Artists of the floating world

by Seona Mac Réamoinn on 26 May 2010

A character in one of the international shows in Dublin Dance Festival remarks to another, “I like the way you move.” The comment, ironic in the particular context, had reverberations throughout the festival: the manner and mode of gesture, steps and phrases were connected to an interlocking...

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On an upward spiral

by Seona Mac Réamoinn on 19 May 2010

It starts with incongruity. Why is the large cushioned sofa on the lawn? Already intrigued, we peer expectantly at the half-lit figures behind the glass screens of Aedín Cosgrove’s inventive design in the opening sequence of Junk Ensemble’s terrific show, which jump-started Dublin Dance Festival...

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Bodies of knowledge and experience

by Michael Seaver on 11 May 2010

On a warmly lit stage, two bodies are prostrate, facing the audience. They kneel, foreheads touching the floor. On one, a straight-lined set of vertebrae disappears over the horizon of the curved back. On the other back, a large hump protrudes on one side. That back belongs to German choreographer Raimund...

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Permission to take risks

by Fintan Walsh on 06 May 2010

One of the aims of the Project Brand New programme is to allow artists to experiment without the fear of failure. Organisers Louise Lowe, Lynnette Moran, Jody O’Neill and Dee Roycroft are especially interested in promoting collaboration between artists from a range of disciplines, while encouraging...

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Powerful theatre, morally essential

by Emilie Pine on 02 May 2010

'The Darkest Corner', a series of three theatre pieces seen over recent weeks on the Peacock stage, constitutes the National Theatre’s response to the revelations of systemic and widespread abuse as detailed in the 2,700-page Ryan Report, published in May 2009. The Abbey’s programming is...

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Two cities, multiple directions

by Karen Fricker on 14 April 2010

In the coming months, Dublin audiences will see the work of two emerging Irish directors whose names – Roísín McBrinn and Donnacadh O’Briain – are probably not as familiar as one might expect, given their level of experience and the number of impressive credits on their CVs. This is...

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