RSS

Walking with Magdalens – “Laundry” at the Dublin Theatre Festival.

Laundry - Anu Productions

Laundry is the latest site-specific work from Anù Productions and features as part of this year’s Ulster Bank Dublin Theatre Festival. Barry Houlihan witnessed this historic play that takes place behind the doors of Dublin’s Magdalen Laundry.

‘Sanctus’. The word is cast in elegant stained glass over a doorway that leads to the inner chapel of the Magdalen Laundry on Seam McDermott Street. The ‘Santcus’ is a song of praise to God and to his angels that in the order of the mass is sung  just prior to the consecration – the act of true faith in the mass. For the thousands of women who walked under this word every morning and evening of their lives spent in the Magdalen Laundry, it offered little respite or comfort.

Laundry is the latest work by Dublin based theatre company Anù Productions. Formed as recently as 2009, the company has quickly proven to be a phenomenon of Irish theatre; staging radically powerful works while specialising in site-specific areas.  While far from a being a ‘play’, this performance is testimony to the stolen childhoods and stolen lives of the ‘Maggies’ who were forced to endure life inside the walls.

To read this review in full from writing.ie please click here

Advertisements
 
1 Comment

Posted by on October 6, 2011 in Culture, Theatre

 

Tags: , , , , , ,

Tale of the Tape with Aonghus Òg McAnally

Fight Night, a new one-man play written by Gavin Kostick and produced by Rise Productions is currently on an 18-venue tour of Ireland. The play’s star Aonghus Òg McAnally talks to Barry Houlihan and writing.ie on how Fight Night came to be, on shaping new work in Ireland and how for Dan Coyle Jnr, he faces the fight of his life.

What outlines someone as a boxer is much more than physical strength. As any follower of the sport will tell you, it is brains over brawn that counts. The cagier fighter will come out on top. Boxing is a solo sport, no one else to rely on in the ring, no one to back you up against the tide of force coming your way. On arriving at Galway’s Town Hall Theatre Aonghus Òg McAnally talks with Barry Houlihan and writing.ie about the last year in the life of Dan Coyle Jnr and Fight Night.

To read this article in full please click here

 
Leave a comment

Posted by on September 29, 2011 in Theatre

 

Tags: , , , , , ,

Staging Society – Revolutionary Texts at the Absolut Fringe

For those who may have missed it, this post was published on writing.ie last week in the run up to the ‘Revolutionary Texts’ series of readings and discussion at the Absolut Fringe Festival.

As part of this year’s Absolut Dublin Fringe Festival, a particular series of events is looking at plays that struck a chord with the political and social systems of their times.  The “Revolutionary Texts” series will feature readings of a series of Irish plays from the late 1980’s and 1990’s that are political and directly socially reflective in nature and which today are capable of provoking as much debate as they did when they received their first production.

The programming in the Absolut Fringe programme is right on the nerve of current trends of social discussion and investigation. This is, after all, now the Ireland where economists are the new house-hold names, top-of-the-bill speakers and best-selling authors. Morgan Kelly drew a sell-out crowd at the Kilkenny Arts Festival and Fintan O’Toole spoke to a packed and hushed Town Hall Theatre in Galway in November last year. David McWilliams toured his Outsiders from the Abbey Theatre to various theatres around the country.

For the rest of this article see the ‘Centre Stage’ section of writing.ie here.

 
Leave a comment

Posted by on September 28, 2011 in Theatre

 

Tags: , , , , , , , , , , , , , , , ,

Getting to Grips with Research Libraries – A Guide

It is a completely new departure. You have spent the previous six years working towards getting here and most definitely a hellish last few months; but you made it. You are now in college! As an overload of information, of new faces, new places and new responsibilities come pouring at you, it really is a time to savour – your reward for enduring and beating the points system and earning your place in your chosen course.

Coming into a third-level university library can be at first a daunting experience. Where exactly do you begin? University libraries have never before been packed with so much information and with online access to near endless databases and resources; your worry may at first seem justified. However, once you get to grips with what your library has to offer you, you will soon realise that it will make your college experience so much easier.

For the rest of this article, its advice, Do’s and Don’ts on using research Libraries at University, click here: http://tiny.cc/chame and follow www.writing.ie for more.

 
Leave a comment

Posted by on September 16, 2011 in Books

 

Tags: , ,

Something Borrowed, Something Blue. . .New Voices at the Abbey Theatre

Aideen Howard, Bryan Delaney and the New Playwrights programme group

If the stage of the Abbey Theatre is seen as the heart of the National theatre, then its Literary Department is very much the pulse. Tucked away on the upper floors of the Abbey Street theatre, the Literary Department is very much a haven for new writers, for new stories and for new voices. Aideen Howard, Literary Director, talks to Barry Houlihan and Writing.ie about the work of the Literary Department, about supporting new plays and new playwrights and about finding that new voice in Irish theatre.

For the rest of this interview from writing.ie please click here

 
Leave a comment

Posted by on September 9, 2011 in Abbey Theatre, Theatre

 

Tags: , , , , , , , , , , ,

Mephisto’s Journey to “the Honey Spike”.

The Honey Spike

Here is a tale of Irish Roads, of a Tinker and his wife,

It’s a tale of trouble and wildness and a child that’s born to life,

There’s mating in it, birth and death and drink to flood a dyke,

So here’s how they raced the bloody road that lead to the Honey Spike

The review from the Evening Press of “Bryan MacMahon’s the Honey Spike, produced at the Abbey Theatre in 1961 reads: [The Play] has the essential quality of all good drama: vitality – life breathes through this play.” (23 May 1961)

While “The Honey Spike” is indeed a play singing the virtues of life and the fervent dedication of expecting young parents, it is also the fear of death and superstition which supersedes the anxious wait for new life.

A young Traveller couple, Martin and Breda Claffey have travelled the length and breadth of Ireland, on their own journey and adventure as newly-weds. From the cliffs aside the Giants Causeway, on the tip of Ireland’s East Coast, the pregnant Breda is nearing her ‘time’. Her baby is but days away from life. Driven by tradition and superstition and indeed also fear, Breda longs to abide by her mother’s wish, to have her baby at the ‘lucky’ spike – the Honey Spike – back in her home of Dunkerron in South Kerry.

This trek  to the lucky spike also allows for much soul-searching amongst the couple themselves, with touching scenes of genuine warmth and love by a campfire in the wilds of Ireland.  When crossing the Border region, MacMahon characterises this ‘lost world’ of an area without a true attachment of a people. It is a purgatorial space, belonging to no country but yet fought viciously over by those living on either side – the wounded IRA man seeking help identifies with the cause of the Claffeys, depicted as yet another who is seeking to find a true home. As Breda declares to the English soldiers, “What do we Travellers care about the IRA or if the country is in two or two thousand bits – shur isn’t every hand North or South up against us.”

The arduous journey brings the couple on an expedition through the heart and soul of Ireland. They must encounter a Border region “full of smugglers and IRA”, a lifeless midlands and perhaps most troublesome of all – the Puck Fair Festival in Kilorglin.

The symbolism of Puck Fair, being a Festival that many believe to be Pagan in origin and which celebrates the goat as a symbol of fertility, is fantastically written by McMahon and driven with skill by director Caroline Lynch. The passion to return to the Honey Spike at which to birth her child consumes Breda, as does her Catholic fears such as losing her ‘blessed cord’.

Emmet Byrne and Emma O'Grady. Image (c) Mephisto Theatre Company

The mixing of Catholic and Pagan symbolism reminds much of Vincent Woods 1992 play “At the Black Pig’s Dyke” which was produced by Druid Theatre Company. The story tells of families in the Border counties of Leitrim and Fermanagh where local feuds are passed down through generations. This is evoked through using the local traditional customs of the’ mummers’, characters, who since Pagan times, celebrated life, death, growth and harvest.

The oral tradition of storytelling that surrounds the Irish Travelling people is never far from MacMahon’s mind. A volume of his own autobiography is called “the Storyman”, named after a child in the street who stopped him and asked was he the “Storyman”. Characters like Dicky Bird, excellently portrayed by Sèamus O’Donnell, represent the wandering bards synonymous with the story-telling tradition of MacMahon’s North Kerry as much as with the Travelling community.

The play is also so much an exploration of language. Turns of phrase local to those from the Kerry or Munster region differ from those we encounter from the character of Meg McCuteheon from the North of Ireland. These phrases are in turn different again from those purely native to the Travelling community. Dicky Bird, the Traveller, recounts prayers in the traditional Traveller Gammon dialect, which is joined in chorus by those other Travellers around him.

The closing scenes offer a reflection of supreme pathos. As Dicky Bird has confounded all who he encounters with his riddles and rhymes, so too is the confounding riddle of life and death played out at the Honey Spike – the end of a journey. Perhaps most fittings of all to sum up this is a riddle by Bird himself. It is introduced as being written on the gravestone of a poet in the north-west, Yeats himself: “Cast a cold eye on life, on death. Horsemen, Pass by”.

Mephisto Theatre Company have produced a real classic here and in doing have staged an impeccable production. Emmet Byrne and Emma O’Grady (Star of earlier Mephisto production of Grenades) are outstanding as the young Traveller couple who must overcome religion, feuds, prejudice and often their own fears and customs so that their child might live. O’Grady relishes the rich character and language of Breda afforded to her character by MacMahon. Daniel Guinnane also gives a great turn as the drunken Mickle Sherlock. Mephisto are quickly establishing themselves as a company of considerable ability and imagination. It is a truly moving and powerful production, full of lyrical beauty, stories, humour and grief and is not to be missed.

The Honey Spike is at the Town Hall Theatre, Galway, 9 – 13 August 2011.

www.mephistotheatre.org

www.tht.ie

 

 
2 Comments

Posted by on August 12, 2011 in Uncategorized

 

Tags: , , , , , , , , , , , ,

Translations: New Adventures in Language

Following the successful original 1980 production and subsequent tour of Translations by Field Day Theatre Company, Tom Paulin stated afterwards in 1983:

“The history of language is a story of possession and dispossession, territorial struggle and the establishment or imposition of a culture.”

Few plays and fewer playwrights have stirred the question of’ Irishness’ and nationhood as much as Translations by Brian Friel. Since it was staged all of thirty years ago, the first production of the fledgling Field Day Theatre Company, it has become synonymous with the Irish obsession with language, connection to home and to the landscape in which that home is situated.

Denis Conway and Aaran Monaghan. Image courtesy of Abbey Theatre

Translations was written in the shadow and direct backdrop of the Northern Ireland Troubles. Friel, himself a Derry-born Catholic, experienced life on the front-line of this turbulent and bloody time. The political nature of Translations has perhaps taken on a life of its own outside of its intended level of intervention. Friel has often set on record that Translations is not a political play but is only about language. While Friel may have chosen to defuse the situation and down play the political and Nationalist fervour the play has come to be associated with, this is not so readily achievable.

It was unthinkable for many in 1980 to foresee an Ireland that would have later see a Downing Street Declaration, a Good Friday Agreement, a power-sharing executive. Now, thirty years since Translations was premiered by Field Day Theatre Company in the imposing Guild Hall in Derry, for so many it is unthinkable how very real the fear, violence and sectarianism was in the North. Today’sIreland is one more attuned to peace but still tragically not immune to violence. The murder of RIC Constable Ronan Kerr and British army soldiers at Mesereence Barracks have provoked an outpouring and committed resolve for peace in the face of those deluded few who insist on failed violent means.

Translations tackled the question of language like no other play in Irish theatre. Friel recognised that while land and connection to home, wherever that may be, can actually be superseded by a truer from of identity: how we express and communicate. While the threat of violence, eviction and also references to the Great Famine hung over the village of Ballybeg, the idea of knowing one’s identity and place through words rather than physical landscape is the true essence and beauty of this play. As Manus taunts his father Hugh following the ‘standardisation’ of the local place-names, he says: “Will you be able to find your way?”

Friel’s contribution to the identity question surrounding ‘Irishness’ on both sides of the border has been explored in depth in Translations but also in his other ‘language’ plays – Making History and Faith Healer. Friel’s use of the colloquial and local dialogue and speech creates entirely real worlds where his characters are reflections of the society and place that has shaped them. Many similarities along this point can be also be seen in the work of playwright Billy Roche, who has become as synonymous with finding a connection to the thoughts and language of the people of his native Wexford as Friel found with people in the North of Ireland.

If by Fintan O’Toole’s definition of a ‘Powerplay’ – a work being political, challenging and reflective of society and identity, then perhaps Translations is the ‘Powerplay’. It is also crucial to consider, is it just a powerplay of it’s own time? And can it still carry such an impact on today’s audiences as it did in 1980’s Derry? Translations does still have much to offer contemporary Ireland. Earlier this year, the visit by Queen Elizabeth II allowed for a mass re-evaluation of the colonial relationship between Ireland and Great Britain. Our own ability to recognise this visit as one head of state visiting a global equal as opposed to a colonial satellite was key to the mature and considered welcome Queen Elizabeth received. Recent revisions of works such as the Playboy of the Western World in a version by Roddy Doyle and Bisi Adigan put that classic story on a modern footing in contemporary Dublin and explored how immigration was shaping Ireland and the actions, thoughts and words of its people. Also works by The Company, including Who is Fergus Kilpatrick and As You Are Now So Once Were We, go to new levels in exploring questions of connection to place, city, country and the individual. The Company took this challenge to completely new territory, moving outside of the traditional literary text and engaged technologies, forms and ideas that turn the questions of place and language on its axis.

Translations will rightly be a classic of it’s time and also any time. Its original staging in the Guild Hall in Derry will be remembered as being one the most powerful symbols of how theatre can reflect and present society as well as crossing boundaries that traditional communication cannot. It is a fantastic opportunity to see the powerplay once again on the national stage. It also affords us the opportunity to consider the next generation of powerplays and guess at where they will come from and what they will focus on. As Hugh says in the closing scenes of Translations; “We must never cease renewing those images; because when we do, we fossilise.”

Translations is on the Abbey Theatre Stage until Saturday 13th August. www.abbeytheatre.ie

 

 

 
Leave a comment

Posted by on August 9, 2011 in Abbey Theatre, Culture, Theatre

 

Tags: , , , , , , , , , , , ,