Friday, 22 March 2019

Irish Times Theatre Awards for 2018



Having seen more than 130 shows in 2018, the judges have made 60 nominations in 15 categories.


Best Set Design,
Susan Hilferty for Hamlet
Francis O'Connor for Richard III
Jamie Vartan and Will Duke (video projection) for Grief is the Thing with Feathers
Paul Wills for The Snapper
 
Best Costume Design
Katie Davenport for The Tales of Hoffmann
Francis O'Connor and Doreen McKenna for Richard III 
Victoria Tzykun for Il Bravo
Paul Wills for The Snapper
 
Best Lighting Design
Aedin Cosgrove for Eliza's adventures in the Uncanny Valley
Paul Keogan for Hamlet
Sarah Jane Shiels for FRNKNSTN
Kris Stone for How it Is


See Irishtimes.com for more
https://www.irishtimes.com/culture/stage/the-irish-times-irish-theatre-a...

Monday, 8 October 2018

Mind over Matter 2018, last chance to book a face to face!





Last chance to book your face-to-face!
Your deadline extended to Midnight tonight Monday 8th October

Mind Over Matter 2018 is the perfect opportunity to have a tete-a-tete with experienced pros from diverse fields. Whether you're looking to revisit your Creative Process, add to your skillset, how to manage Creative Block/Impasse, or you're in the business of growing your business, this is the occasion for you: gain invaluable insights, promote yourself, engage with peers and do some serious good.

100% of fees go straight to Aware. Event takes places at a venue near you on Oct 10, World Mental Health Day!
So, are you up for doing good and getting better? Follow the links below to book now or learn more...




Book your place before Mid-Night tonight Oct 8th or I might turn into a Pumpkin!






Thursday, 12 October 2017

“Tribes” seen at The Gate Theatre, Dublin

The Gate Theatre production of; “Tribes” seen at The Gate Theatre, Dublin. Part of the 2017 Dublin Theatre Festival

On 11th October last I had a very edgy, challenging, engaging and informative theatre experience at the Irish Premier of Nina Raine’s play “Tribes” at The Gate Theatre, Dublin

Scenographer Conor Murphy’s performance space for the play is set in a dark, ultra-stark, austere modernist dining room. Above the stage there are three borders the width of the performance area. Each border consist of five synchronised flat screen televisions in line so as to provide a horizontal linear image the width of the performance space. They were to good dramatic effect, augmenting the oscillating emotional moods of the performance and denoting time of day or night. They also were used to good effect in showing thoughts, translating sign language, showing memory flash-backs, the symbolic silence, isolation of an underwater sequence and provided for a change in location by lowering the downstage border of screens to near stage level.

Conor Murphy uses his control of costume colour and monochromatic greys to good effect in expressing emotion, happiness, dysfunction, hearing v deafness,




Photo Curtsey of The Gate Theatre

The dramatic and subtle lighting changes designed by Mimi Jordan Sherin moves in tandem with the mood changes of characters and the tensions of the moments. Characters are isolated, sometimes apparently freeze framed and at other moments animated into action by a lighting change.

Set and Costumes designed by scenographer Conor Murphy. The production is directed by Oonagh Murphy, Lighting Design by Mimi Jordan Sherin, Sound Design Ivan Birthistle, Hair and Make-up Stacey Regan, Wardrobe Assistant and Dresser Corinna Govan, Video Designer Conan McIvor

Nina Raine:                 https://en.wikipedia.org/wiki/Nina_Raine
                                    http://www.unitedagents.co.uk/nina-raine

Oonagh Murphy:         https://www.oonaghmurphytheatre.com/
                                    https://ie.linkedin.com/in/oonaghmurphy
                                                           
Conor Murphy:            http://www.conormurphy.com/
                                    http://stageandscreendesignireland.ie/designers/conor-murphy/

                                    https://www.deutscheoperberlin.de/en_EN/ensemble/137148
                                    http://www.roh.org.uk/people/mimi-jordan-sherin

Stacey Regan:            https://www.facebook.com/staceyeganmua/

Ivan Birthistle:             http://stageandscreendesignireland.ie/designers/ivan-birthistle/                                               http://archive.dublintheatrefestival.com/artists/display.asp? m=&artistID=706

Conan McIvor:            https://www.conanmcivor.com/
                                    http://stageandscreendesignireland.ie/designers/conan-mcivor/

Corinna Govan:           https://www.facebook.com/CorinnagCostume/
                                    http://www.imdb.com/name/nm7244911/

 Gate Theatre:             http://www.gatetheatre.ie/

Sunday, 8 October 2017

“On Blueberry Hill” at The Pavilion Theatre, Dun Laoghaire, County Dublin

Fishamble The New Play Company’s production of; “On Blueberry Hill” at The Pavilion Theatre, Dun Laoghaire, County Dublin

On 5th October last I had a very entertaining, engaging and uplifting theatre experience at Fishamble The New Play Company’s production of “On Blueberry Hill” at The Pavilion Theatre, Dun Laoghaire in County Dublin

This is a very entertaining, thought provoking and uplifting Production of Sebastian Barry’s new play ‘On Blueberry Hill’ The pitiful and desperate  characters of mutually dependent Christy and PJ are superbly performed by Nial Buggy and David Ganly. The near minimal stage setting of isolated prison cell bunk beds is designed by Scenographer Sabine Dargent.

Photo curtsey Fishamble, 


The tight lighting designed by Mark Galione isolates the characters and performance space in the initial phases of the production. As the story reveals itself and the relationship between the characters unfolds, the lighting changes to include both characters simultaneously and gives poignancy to the subliminal background festooned with unanswered letters. This lighting change moves in tandem with the change in tempo of performance culminating in the closing, unbounded scene of unbridled forgiveness, joy and celebration of unfettered love of the human spirit. Thus undermining the earlier bleak murderous intimacy, the isolation and the claustrophobia of a two souls trapped in a prison cell.  

Set designed by scenographer Sabine Dargent. The production is directed by Jim Culleton, Set and Costumes Designed by Sabine Dargent, Lighting Design by Mark Galione, Sound Design Denis Clohessy,

          
Sabine Dargent:          http://www.sabinedargent.com/
                                    http://stageandscreendesignireland.ie/designers/sabine-dargent/
  
Mark Galione:              http://markgalione.ie/
                                    http://stageandscreendesignireland.ie/designers/mark-galione/

Denis Clohessy:          https://www.denisclohessy.com/

Fishamble Theatre:     http://fishamble.com/

Pavilion Theatre:         http://www.paviliontheatre.ie/
  

Sebastian Barry:         https://en.wikipedia.org/wiki/Sebastian_Barry

Friday, 6 October 2017

Woyzeck in Winter at The Gaiety Theatre, Dublin Theatre Festival 2017

Landmark Productions and Galway International Arts Festival production of Woyzeck in Winter at The Gaiety Theatre, Dublin Theatre Festival 2017

On Wednesday 4th of October last I saw Landmark Productions and Galway International Arts Festival’s production of Georg Büchner’s Woyzeck in Winter at The Gaiety Theatre in Dublin. The massive, teetering set composed of dark, brooding Piano carcases is designed by Scenographer Jamie Vartan. The set references Schubert’s song cycle Die Winterreise which Schubert was still working on in 1827 when he died aged 31. Jamie Vartan’s stage setting provides a menacing performance space with semi concealed stairways, doors and performance areas. Influenced by the poetical work Winterrise by poet Wilhelm Müller, the poetic, nihilist Woyzeck in Winter is set or around 1833-37 Austria.



This dark, despairing and robustly performed production is not for the faint hearted, do not expect to whistle a production tune on your way home. Informed by the accounts of the French Revolution and of women, wives, lovers’ brutally murdered by nihilistic men, Büchner struggles to contextualise and express this human condition through his, arguably unfinished work.

The overall performance space and smaller ensconced spaces presents an apt and visually satisfying set design. The scenographer Jamie Vartan. I collaboration with Lighting Designer, Paul Keogan, provide the performers and audience with a collaboratively menacing environment in which to embrace the ambience and menace generated by this dark production.

The Costumes designed by Designer Joan O’Cleary and Supervised by Orla Long provide the actors with convincing evocative characters of a time and place long past yet appallingly relevant to the contemporary world. All in all it is an appealing design solution, a setting that provides a menacing and versatile performance space for the actors and the characters they portray.

The production was developed and directed by Conall Morrison, Scenography (Set Design) by Jamie Vartan, Costumes Designed by Joan O’Cleary, Lighting Design by Paul Keogan (based on original design by Ben Ormerod), Sound Design Mike Nestor

The €5 programme has an introductory piece by Festival Artistic Director and CEO Willie White and a thoroughly researched informative and provocative piece by author Belinda McKeon on writer Georg Büchner, Composer Schubert and Poet Wilhelm Müller. The programme also includes cv synopses of the production team, cast and crew,


                                    http://www.irishplayography.com/person.aspx?personid=31783
           
Jamie Vartan:              http://www.jamievartan.com/
                                    http://stageandscreendesignireland.ie/designers/jamie-vartan/

                                    http://stageandscreendesignireland.ie/designers/joan-oclery/

Orla Long:                   http://www.imdb.com/name/nm2706666/
                                    http://stageandscreendesignireland.ie/designers/sarah-jane-shiels/

Paul Keogan:              http://www.paulkeogan.com/
                                    http://stageandscreendesignireland.ie/designers/paul-keogan/

Ben Ormorod:             http://www.benormerod.com/
                                    http://www.irishplayography.com/person.aspx?personid=33060

                                    http://www.riam.ie/conor-linehan/
  

Belinda McKeon:         http://belindamckeon.com/
                                    https://en.wikipedia.org/wiki/Belinda_McKeon

Mike Nestor:                http://michaelnestor.net/

Landmark
Productions:               http://www.landmarkproductions.ie/



Dublin Theatre
Festival:                       https://dublintheatrefestival.com/Online/default.asp



Thursday, 5 October 2017

Nora at The Project Art’s Centre Theatre, Dublin Theatre Festival 2017



The Corn Exchange’s Nora at The Project Art’s Centre Theatre, Dublin Theatre Festival 2017

On Wednesday 27th September last I had the good fortune to meet Scenographer Paul O’Mahony before a preview of The Corn Exchange production of Nora. He was (as can be expected) a bit anxious but content about the set he had designed for this full on, edgy and gripping new work by author Belinda McKeon. The story being set in 2015 allows Paul O’Mahony’s imaginative, clean edged, minimalist and opulent set to be slightly futuristic


This is a feisty, robustly performed production. Inspired by Henric Ibsen’s “A Dolls House” , author Belinda McKeon in collaboration with Annie Ryan and directed by Eoghan Carrick Nora is a very entertaining, edgy, fresh and thought provoking Production.  The performance space is presented in an apt and visually satisfying set designed by scenographer Paul O’Mahony. I collaboration with Lighting Designer, Sara Jane Shiels, O’Mahony provides the performers and indeed the audience with an ambient  appropriate and appealing design solution, a setting that provides a focused and defined performance space for the actors and the characters they portray.

The production was directed by Eoghan Carrick, Scenography (Set Design) by Paul O’Mahony, Costumes Designed by Katie Crowley, Lighting Design by Sara Jane Shiels, Sound Design Philip Stewart

The free programme gave the usual list of cast and crew,

Eoghan Carrick:          https://www.eoghancarrick.com/about
           
Paul O’Mahony:          https://www.paulomahonysetdesign.com/
                                    http://stageandscreendesignireland.ie/designers/paul-omahony/
 
Katie Crowley:            https://katiecrowleycostume.carbonmade.com/
                                    http://stageandscreendesignireland.ie/designers/katie-crowley/
 
Sarah Jane Shiels:     http://sarahjaneshiels.com/
                                    http://stageandscreendesignireland.ie/designers/sarah-jane-shiels/


Belinda McKeon:         http://belindamckeon.com/
                                    https://en.wikipedia.org/wiki/Belinda_McKeon

Annie Ryan                 http://www.cornexchange.ie/people/annie-ryan
                                    http://www.irishplayography.com/person.aspx?personid=30468

The Corn Exchange:  http://www.cornexchange.ie/
 
Project Arts Centre:    http://projectartscentre.ie/

Dublin Theatre Festival:          https://dublintheatrefestival.com/Online/default.asp

Friday, 5 May 2017

Druid's Waiting for Godot at The Abbey Theatre, Dublin

Druid's Waiting for Godot at The Abbey Theatre, Dublin

On Wednesday 26th April last I had a very entertaining, engaging and uplifting theatre experience at Druid’s production of “Waiting for Godot” at The Abbey Theatre, Dublin.

This very entertaining, different, fresh and uplifting interpretation is presented in an apt and visually satisfying set designed by scenographer Francis O’Connor. Considering the prescriptiveness of designing a Samuel Beckett play, Francis O’Connor presents the audience with an appropriate and appealing design solution and a setting that provides a focused and defined performance space for the Beckett’s characters.

The production was directed by Garry Hynes, Set and Costumes Designed by Francis O’Connor, Lighting Design by James F Ingalls, Hair/Wigs and Make-up Design Val Sherlock, Sound Design Greg Clarke, Costume Supervisor Doreen McKenna




Francis O’Connor presents the performance space as a symbolic portal into another place, another time, a place of timelessness. The portal to this place/space is rim-lit by a vertical and horizontal boarder of white Perspex light boxes. The action takes place both in vision and out of vision of this defined space as viewed through the porta. The surface beyond the portal is of dried, cracked earth; barren except for a lone skeletal tree and a large rounded egg like rock to stage left. The background is a massive wall of site cast concrete faintly showing the imprint left on the surface from the removal of the shuttering used in on site casting. The visual effect is both infinity, light, sky and at times close, massive, claustrophobic.

The €2 programme gave the usual list of cast and crew, notes on the cast, a note by Colm Tóibín on Waiting for Godot, information on the staff of both Druid and The Abbey.


Garry Hynes:               https://www.nuigalway.ie/drama/staff/garryhynes/
           

James F Ingalls:          https://en.wikipedia.org/wiki/James_F._Ingalls

Val Sherlock:               http://stageandscreendesignireland.ie/designers/val-sherlock/
                                    http://design.irishtheatreinstitute.ie/designers/val-sherlock/

Greg Clarke:                http://www.unitedagents.co.uk/gregory-clarke



Druid                           http://www.druid.ie/

Abbey Theatre:           https://www.abbeytheatre.ie/


Dympna Tate:             http://arthauspaint.com/about.html