Features

Being there, virtually: live performance meets new media

by Rachel Andrews on 08 December 2009

One of the storming successes in New York this winter is Let Me Down Easy, devised and performed by Anna Deavere Smith. It’s the play’s third time around, such is the popularity of this documentary style piece examining life, death and the care of the ailing body, for which Smith interviewed...

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At the hub of Limerick's theatre life

by Sara Keating on 08 December 2009

With the shrinking of Arts Council funding this year and the threat of further cuts to come, production hubs have been the buzzwords for theatre in 2009. Theatre practitioners have had to question whether the economic climate can accommodate the current infrastructure of individual production companies....

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Finding the freedom to play

by Olwen Fouéré on 18 November 2009

The attraction for me of working with Michael Keegan-Dolan is that his approach is holistic. His emphasis is on the body, on a spiritual process, and on transformation, and he attempts to marry all of these things, the way theatre in ancient times might have done. His rehearsal process is rooted in...

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A vocation and an addiction

by Fintan Walsh on 04 November 2009

Fintan Walsh (FW): You have spent the past year as Writer in Association at the Abbey Theatre. Could you explain how this came about, and how the position has benefited you? Phillip McMahon (PMcM): The starting point might have been a short play, Investment Potential, I wrote for the Abbey’s...

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Reading between the headlines

by Tanya Dean on 27 October 2009

“Five Irish women Playwrights, Five New York News Stories” read the tagline for Origin Theatre Company's Spinning the Times, with a New York Times quote - "Stunningly written monologues" - emblazoned on the promotional flier (although an observant eye will note that this quote actually...

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A slow mutation over time

by Karen Fricker on 28 September 2009

Corn Exchange are back in the Ulster Bank Dublin Theatre Festival for the third time in four years with Freefall. In the fourteen years of its history, there are certain characteristics that we have come toexpect from Corn Exchange’s work: a highly physical style ofperformance, unusual juxtapositions...

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Into the deep forest

by Susan Conley on 28 September 2009

“We’ve got nobody to blame but ourselves,” declares Trevor Knight. The forcefulness of the sentiment is belied by the soft-spoken voice. It’s a combination of determination and mellowness, and it becomes apparent that this characterises the man and his work to a T. The issue...

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Chasing shadows: legacy and loss in contemporary dance

by Duncan Keegan on 26 September 2009

This summer, dance lost two of its most accomplished artists, Pina Bausch and Merce Cunningham. In life, both were prodigiously innovative, creating performances that provoked admiration and hostility, and composing work that exerted influence not just within dance, but further afield. Yet their passing...

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What site-specific really means

by Sara Keating on 26 September 2009

To really understand an artist you have to see them at work. Up at Blessington Basin in Dublin’s north inner-city a couple of weeks ago, a veritable army of set designers, writers, artists, actors buzzed around the semi-derelict gate lodge that guards the entrance and the surrounding park. Standing...

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