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The Irish Literary Times
Up-to-Date Coverage of The World of Irish Literature
Curated by Gerard Beirne
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Dreamland - Project Arts Centre, Dublin

Dreamland - Project Arts Centre, Dublin | The Irish Literary Times | Scoop.it
Writer/Director: Jim Nolan Reviewer: Westley Barnes Upon entering the theatre space at the Project Arts Centre for Jim Nolan’s “Dreamland” The Germanic styling of the stage makes a striking impress...
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Irish Theatre Magazine | Reviews | Current | What Happened Bridgie Cleary by Tom MacIntyre

Irish Theatre Magazine | Reviews | Current | What Happened Bridgie Cleary by Tom MacIntyre | The Irish Literary Times | Scoop.it
Read Irish Theatre Magazine for in-depth reviews of all Irish professional theatre productions.
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Scabs | Theatre Upstairs

Scabs | Theatre Upstairs | The Irish Literary Times | Scoop.it

The centenary of the 1913 Dublin Lockout continues to be portrayed on the Irish stage in a way in which the historical industrial dispute draws an inescapable allegory with events in recent Irish history. Having previously featured as part of 10 Days in Dublin, Naomi Elsters' Scabs is given another staging in Theatre Upstairs.

While Anne Matthews’ monologue-driven Lockout thoroughly explored the role of women during the 1913 Lockout and the courageous leadership shown by both James Larkin and James Connolly, Naomi Elster's Scabs is, by comparison, a one-act play in which loyalties are tested and eventually, severed in the most cruel and brutal fashion imaginable. The action focuses on the Casey-O'Kelly's, a young Dublin couple with one young child of ill health, and their uncompromising stance against Audeon Kelly's (Rob Harrington) employer.

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The Edinburgh International Festival 2013 celebrates Samuel Beckett

The Edinburgh International Festival 2013 celebrates Samuel Beckett | The Irish Literary Times | Scoop.it
Beckett at the Festival is a major programme of the Irish author’s TV, radio and fiction works adapted for the stage. Beckett at the Festival is a major programme of the Irish author’s TV, radio and fiction works adapted for the stage. Inevitably, given the scale of the project and the affection Beckett commands in theatre, there are impressive names in the lineup – and the companies behind the productions (Gate Theatre, Dublin and Pan Pan Theatre) have established themselves as being vibrant bearers of Beckett’s flame.

Eh Joe is perhaps the biggest pull: starring Michael Gambon (The King’s Speech) as the man in a dressing gown facing his past alone. Directed by Atom Egoyan – better known for his films which owe a great deal to Beckett’s absurdism – Eh Joe was originally a TV play but shares the unflinching moral intensity of Krapp’s Last Tape.

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Owen McCafferty’s play ‘Quietly’ has won the award for the Writers Guild of UK best theatre play.

Owen McCafferty’s play ‘Quietly’ has won the award for the Writers Guild of UK best theatre play. | The Irish Literary Times | Scoop.it
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Irish Theatre Magazine | Reviews | Current | Pits and Perverts

Irish Theatre Magazine | Reviews | Current | Pits and Perverts | The Irish Literary Times | Scoop.it
Kerrigan's play successfully demonstrates how the little people of history can and do make a difference, even when momentous happenings are unravelling around them. At its heart is Sean's basic generosity of spirit, clearly evident in Conor Maguire's carefully considered performance. Maguire also effectively suggests Sean's underlying complexity: he is haunted by the memory of a friend shot dead on Bloody Sunday, and restless in his relationship with the long-suffering Gene, who palpably adores him.
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Eh Joe - audience reaction

Eh Joe - audience reaction | The Irish Literary Times | Scoop.it

Beckett's first play written specifically for television, Eh Joe explores how one man is forced to face up to his past and the lovers he has abused and driven to destruction. Tormented by inner demons, he is made to relive everything he has tried to forget.

In this acclaimed production from the Gate Theatre, as the disembodied voice speaks out, a camera projects the face of Joe (Michael Gambon) onto a large screen intensifying every flicker of fear, anger and shame. As the emotional tension heightens, we are all forced to admit that we can't escape our past.

'This must be the greatest half-hour in theatrical history... The great Gambon says nothing, and gives the performance of his life.' The Sunday Times

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