‘I have very bad eyesight – which comes in really useful, as I can’t see the audience’ – The Irish Times

Dance, whether set, step or sean-nós, occupies a curious place in the Irish tradition.

Riverdance put it on the global stage, and those who speak the language of set dancing pass it down through the generations with enviable zeal. But for many lovers of traditional music, their encounters with dance are few and far between. It can feel as if the session and the céilí are a twain that never shall meet.

At the same time, traditional music has been steadily taking its place alongside other musical art forms – the ground-breaking recent music created by Lankum, Cormac Begley and John Francis Flynn, among others, will have lured in even more listeners.

The fiddle player and composer Zoë Conway, who cut her teeth with Riverdance, has played no small part in bridging the gap between performance and audience, in concert halls, fleadhanna cheoil and sessions.

Conway is constantly pursuing new horizons, infectiously curious about where the music might take her. In 2023 she became an associate artist of the RTÉ Concert Orchestra. For her next appearance with them, at the Anam Éireann – or The Soul of Ireland – concert at the Helix in Dublin this month, she is drawing together singer Ríoghnach Connolly, piper Louise Mulcahy and conductor Ellie Slorach for a performance featuring the irrepressible sean-nós dancer Edwina Guckian.

Given the solo nature of sean-nós dance, opportunities to collaborate can be few and far between. Still, Guckian belongs to a community that’s not short of vim. She and her fellow solo dancers Stephanie Keane, Caitlín Nic Gabhann and Nic Gareiss have all made sean-nós their own.

Guckian has a particularly organic and inclusive approach to what she prefers to call percussive dance, as the term frees her of the fetters that can bind sean-nós dance to a tight set of conventions.

[ Jean Butler: ‘There’s an expression of love that happens when people dance together’Opens in new window ]

“If you do anything that’s off from the tradition at all, someone will turn around to you and say that’s not sean-nós dancing,” she says. “But I never said that it was. I might be dancing to The Beatles, but sean-nós dancing.

“As well as that, most people associate sean-nós dance with Connemara dancers and they expect you to dance in that way, but we never call it that. Where I grew up, people call what I do shuffling or battering.”

One of the best nights of the year dancing with Zoë Conway and the RTÉ Concert Orchestra. Easy to dance when you’ve got that powerful music lifting you! Even with a 6 month bump 😆

This piece of music was composed by Zoë Conway for myself and the RTÉ Concert Orchestra 🥰 it was her first time writing a piece for the full orchestra. Amazing!
Keep an eye out for more of Zoe’s upcoming work as part of her residency with the orchestra.

RTÉ lyric fm #25years

Posted by Áirc Damhsa Culture Club on Monday, May 13, 2024

Anam Éireann will feature music that Conway composed for Guckian after RTÉ Lyric FM commissioned her to create a piece for its concert last year to mark the station’s 25th birthday. The pair worked closely to meld dancer and dance with the tune in a way that would surely please Yeats in its seamlessness.

“I was so honoured when Lyric FM asked me to compose a piece,” Conway says. “As associate artist with the orchestra, I felt it would be an opportunity to present a collaboration that shows the best of our living, breathing Irish tradition, and I immediately thought of Edwina.

“I wanted the piece to be celebratory and uplifting, and something that embodies the spirit of the people who came before us. I loved the idea of the juxtaposition of sean-nós dance with an orchestra, and how the rhythm of the feet could come through in the orchestration. Edwina’s passion for the tradition is infectious, so once I began composing, the piece wrote itself.

“This was actually the first piece I ever composed and orchestrated for full orchestra. I have to thank Bill Whelan for giving me the push to do that, as I was a bit reluctant. He acted as mentor on the project and checked the final scores to make sure all was okay.

Conway called the piece, which they performed together on the stage of University Concert Hall, in Limerick, Bualadh an Cheoil, Bualadh an Chroí, “which means Music Playing, Heart Beating, in honour of Edwina”.

Zoë Conway and Edwina Guckian perform Bualadh an cheoil, bualadh an chroí composed by Zoë at the RTÉ Lyric FM 25th birthday concert. Photograph: Andres Poveda

Guckian was thrilled. “I couldn’t believe that someone wanted to write a piece of music for me, and that it was Zoë Conway, and for an orchestra too,” she says. “It was a real honour. For someone to compose for you, and not only that, but to ask what you like dancing to, was fabulous – and then having it orchestrated: I never danced to such power.

“Of course there was volume, but the power of the entire orchestra: I was literally up against the cello – she was nearly prodding me in the backside, I was that close to her. So that sheer force coming at you, with music that was written for you, was incredible.

“I was seven months pregnant when I danced. David Brophy conducted, and it was as if he was dancing beside me too.”

The dance school that Guckian runs, Áirc Damhsa Culture Club, in Leitrim, is built on her philosophy that, with young people, “if you imagine a big bucket of Irish culture – music, song, dance, folklore, language, customs, community – you dunk them in it.” You could almost call it a school for life; past pupils now return to teach the next generation, fired by the passion that Guckian has created.

Guckian’s extraordinary choreography was on show at the National Concert Hall in Dublin recently, for the Irish Traditional Music Archive’s Drawing from the Well concert in May. She danced her own set with seven other dancers, a celebration of both the percussive force of her own style and the community-building potential of set dancing, fired by an entirely new set of steps learned on the fly.

Dancer Edwina is involved in preserving old traditions, such as one project getting locals to grow oat seed to harvest the materials to make traditional strawboy costumes. Photograph: Phil Doyle

“When I want to choreograph something to learn off and remember I’ll learn to lilt the tune first, and then I’ll make the whole thing up in my head and practise it over and over in my head and then eventually I’ll let it come out in my feet,” she says.

“I’d been dancing that set in my head for about eight years, and it was so exciting. Then on the day of the performance we got seven dancers into the studio at the Irish Traditional Music Archive and I taught it to everybody.”

The joy of mining this much-neglected seam of the tradition for new gems is evident in Guckian’s dance.

“I think it’s lovely for the musicians, too, because they can see their tune coming out in my feet,” she says. “Because Zoë and I are working so closely together, even if she stops playing she can hear the tune in my feet.”

Guckian’s approach to dance is the same whether she’s in her kitchen, at a crossroads or in a concert hall.

“I have very bad eyesight – which comes in really useful, because I can’t see the audience and I’m away in my own world,” she says, laughing. “Whether there’s 100 or 1,000 people, it’s still a very personal performance. I tend to just go into my own world with that person who’s playing.

“I face them and not the audience, and I only focus on them and the music. When they’re relaxed alongside me, it’s lovely.”

Anam Éireann: The Soul of Ireland is at the Helix, in Dublin, on Thursday, September 11th

One of the best nights of the year dancing with Zoë Conway and the RTÉ Concert Orchestra. Easy to dance when you’ve got that powerful music lifting you! Even with a 6 month bump 😆\n\nThis piece of music was composed by Zoë Conway for myself and the RTÉ Concert Orchestra 🥰 it was her first time writing a piece for the full orchestra. Amazing! \nKeep an eye out for more of Zoe’s upcoming work as part of her residency with the orchestra. \n\nRTÉ lyric fm #25years

Posted by Áirc Damhsa Culture Club on Monday, May 13, 2024

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It can feel as if the session and the céilí are a twain that never shall meet. “,”type”:”text”},{“_id”:”JJCRZLMYIBGJJATW2FDH4JE2RQ”,”additional_properties”:{},”content”:”At the same time, traditional music has been steadily taking its place alongside other musical art forms – the ground-breaking recent music created by Lankum, Cormac Begley and John Francis Flynn, among others, will have lured in even more listeners. “,”type”:”text”},{“_id”:”4Q45ZK4AYBDLHCWJKE33KXDR7I”,”additional_properties”:{},”content”:”The fiddle player and composer Zoë Conway, who cut her teeth with Riverdance, has played no small part in bridging the gap between performance and audience, in concert halls, fleadhanna cheoil and sessions. “,”type”:”text”},{“_id”:”3NQDPYTCCJGJTETQ4NK4AO6OLA”,”additional_properties”:{},”content”:”Conway is constantly pursuing new horizons, infectiously curious about where the music might take her. In 2023 she became an associate artist of the RTÉ Concert Orchestra. 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I might be dancing to The Beatles, but sean-nós dancing. “,”type”:”text”},{“_id”:”HYXTDY3F6VBYDF7C3C4DTCGRTY”,”additional_properties”:{},”content”:”“As well as that, most people associate sean-nós dance with Connemara dancers and they expect you to dance in that way, but we never call it that. Where I grew up, people call what I do shuffling or battering.””,”type”:”text”},{“_id”:”F3YA4XVJ4FFZFOLQKQNB3EGDVM”,”subtype”:”facebook-video”,”type”:”oembed_response”},{“_id”:”TPLZLWEGHNC7PHSXGCVO7YU6UI”,”additional_properties”:{},”content”:”Anam Éireann will feature music that Conway composed for Guckian after RTÉ Lyric FM commissioned her to create a piece for its concert last year to mark the station’s 25th birthday. The pair worked closely to meld dancer and dance with the tune in a way that would surely please Yeats in its seamlessness. “,”type”:”text”},{“_id”:”65FRV43WD5DCRFCGTL5FJY5FXM”,”additional_properties”:{},”content”:”“I was so honoured when Lyric FM asked me to compose a piece,” Conway says. “As associate artist with the orchestra, I felt it would be an opportunity to present a collaboration that shows the best of our living, breathing Irish tradition, and I immediately thought of Edwina.”,”type”:”text”},{“_id”:”IM7VXMKFHVDYFIWMTZITFEYSV4″,”additional_properties”:{},”content”:”“I wanted the piece to be celebratory and uplifting, and something that embodies the spirit of the people who came before us. I loved the idea of the juxtaposition of sean-nós dance with an orchestra, and how the rhythm of the feet could come through in the orchestration. Edwina’s passion for the tradition is infectious, so once I began composing, the piece wrote itself.”,”type”:”text”},{“_id”:”224MOMJWNBF6BOVT32I4I5U7WQ”,”additional_properties”:{},”content”:”“This was actually the first piece I ever composed and orchestrated for full orchestra. I have to thank Bill Whelan for giving me the push to do that, as I was a bit reluctant. He acted as mentor on the project and checked the final scores to make sure all was okay.”,”type”:”text”},{“_id”:”T45HUSYL5BBLZDKOIO2DH6O2CI”,”additional_properties”:{},”content”:”Conway called the piece, which they performed together on the stage of University Concert Hall, in Limerick, Bualadh an Cheoil, Bualadh an Chroí, “which means Music Playing, Heart Beating, in honour of Edwina”.”,”type”:”text”},{“_id”:”P6P23ARCKVAA7G3FCMCTHJICOM”,”additional_properties”:{},”type”:”image”},{“_id”:”XWBODXOFZBBBHJK7ILMDOETVP4″,”additional_properties”:{},”content”:”Guckian was thrilled. “I couldn’t believe that someone wanted to write a piece of music for me, and that it was Zoë Conway, and for an orchestra too,” she says. “It was a real honour. For someone to compose for you, and not only that, but to ask what you like dancing to, was fabulous – and then having it orchestrated: I never danced to such power.”,”type”:”text”},{“_id”:”U2ZHQX7CDVGMRLOGYRT3MZGLLE”,”additional_properties”:{},”content”:”“Of course there was volume, but the power of the entire orchestra: I was literally up against the cello – she was nearly prodding me in the backside, I was that close to her. So that sheer force coming at you, with music that was written for you, was incredible. “,”type”:”text”},{“_id”:”RDCJW5GUXFA5VCUDKVZM4ITI6E”,”additional_properties”:{},”content”:”“I was seven months pregnant when I danced. David Brophy conducted, and it was as if he was dancing beside me too.” “,”type”:”text”},{“_id”:”BMUR2OMWIVHGPGGPMMCDO7IWAQ”,”additional_properties”:{},”content”:”The dance school that Guckian runs, Áirc Damhsa Culture Club, in Leitrim, is built on her philosophy that, with young people, “if you imagine a big bucket of Irish culture – music, song, dance, folklore, language, customs, community – you dunk them in it.” You could almost call it a school for life; past pupils now return to teach the next generation, fired by the passion that Guckian has created.”,”type”:”text”},{“_id”:”RCTVCKM4WJBJ3LATHRCK232JQE”,”additional_properties”:{},”content”:”Guckian’s extraordinary choreography was on show at the National Concert Hall in Dublin recently, for the Irish Traditional Music Archive’s Drawing from the Well concert in May. She danced her own set with seven other dancers, a celebration of both the percussive force of her own style and the community-building potential of set dancing, fired by an entirely new set of steps learned on the fly. “,”type”:”text”},{“_id”:”KIEVSOUCH5BRDNXQSJNIQ5AHOE”,”additional_properties”:{},”type”:”image”},{“_id”:”WIYN7SFK4FHFTFE6D6OUD5QS4M”,”additional_properties”:{},”content”:”“When I want to choreograph something to learn off and remember I’ll learn to lilt the tune first, and then I’ll make the whole thing up in my head and practise it over and over in my head and then eventually I’ll let it come out in my feet,” she says.”,”type”:”text”},{“_id”:”FJZ62TSY75BRVNLJNSWYDKFNX4″,”additional_properties”:{},”content”:”“I’d been dancing that set in my head for about eight years, and it was so exciting. Then on the day of the performance we got seven dancers into the studio at the Irish Traditional Music Archive and I taught it to everybody.””,”type”:”text”},{“_id”:”I5GZVK7FHVEEDJKT3ZG37KYHMM”,”additional_properties”:{},”content”:”The joy of mining this much-neglected seam of the tradition for new gems is evident in Guckian’s dance.”,”type”:”text”},{“_id”:”MRP6IEMINVBMXA46Q7CDMZZRIU”,”additional_properties”:{},”content”:”“I think it’s lovely for the musicians, too, because they can see their tune coming out in my feet,” she says. “Because Zoë and I are working so closely together, even if she stops playing she can hear the tune in my feet.” “,”type”:”text”},{“_id”:”U7LLND4KYVHPBMXPIXMUZGHC5M”,”additional_properties”:{},”content”:”Guckian’s approach to dance is the same whether she’s in her kitchen, at a crossroads or in a concert hall.”,”type”:”text”},{“_id”:”AMWKWPYLJFBDHH5XFJCT4R2PAA”,”additional_properties”:{},”content”:”“I have very bad eyesight – which comes in really useful, because I can’t see the audience and I’m away in my own world,” she says, laughing. “Whether there’s 100 or 1,000 people, it’s still a very personal performance. I tend to just go into my own world with that person who’s playing. “,”type”:”text”},{“_id”:”CZTZYOCNU5A3PFI4DUMDFI3GSM”,”additional_properties”:{},”content”:”“I face them and not the audience, and I only focus on them and the music. When they’re relaxed alongside me, it’s lovely.””,”type”:”text”},{“_id”:”FJKEWAYT4NBA7OFNDWBOGURRNI”,”additional_properties”:{},”content”:”Anam Éireann: The Soul of Ireland is at the Helix, in Dublin, on Thursday, September 11th”,”type”:”text”}],”content_restrictions”:{“content_code”:”premium”},”credits”:{“by”:[{“additional_properties”:{“original”:{“byline”:”Siobhán Long”}},”name”:”Siobhán Long”}]},”description”:{“basic”:”Edwina Guckian was thrilled when Zoë Conway composed a piece for her. They’re about to perform it with the RTÉ Concert Orchestra in Dublin”},”display_date”:”2025-09-03T04:03:00Z”,”headlines”:{“basic”:”Sean-nós dancer Edwina Guckian: ‘I have very bad eyesight – which comes in really useful, as I can’t see the audience’”,”native”:””},”label”:{“audio_project_id”:{“text”:”8948″}},”promo_items”:{“basic”:{“_id”:”6EHWHUOHANCFTE7UBC2YEOCW64″,”auth”:{“1″:”a05262e50dbc3c470be6d3ddc8b446c3e0bf29ce35ada89bfa575c18bc7c2f21″},”focal_point”:{“x”:917,”y”:451},”type”:”image”,”url”:”https://cloudfront-eu-central-1.images.arcpublishing.com/irishtimes/6EHWHUOHANCFTE7UBC2YEOCW64.jpg”}},”subtype”:”feature”,”taxonomy”:{“sections”:[{“name”:”Stage”},{“name”:”Culture”},{“name”:”Music”}]},”type”:”story”,”website_url”:”https://www.irishtimes.com/culture/stage/2025/09/03/sean-nos-dancer-edwina-guckian-i-have-very-bad-eyesight-which-comes-in-really-useful-as-i-cant-see-the-audience/”,”websites”:{“irishtimes”:{“website_section”:{“_id”:”/culture/stage”,”additional_properties”:{“original”:{}},”name”:”Stage”}}}},{“_id”:”K5ASIMRTBZHDDJR5GEESV3R5HQ”,”additional_properties”:{“audio_duration”:509,”audio_url”:”https://cdn.beyondwords.io/audio/projects/5469/podcasts/a8afa89b-9fb7-4c07-9784-cb849051bfb1/versions/1756377900/media/ce3faca0d9a620df0c03cd90976b9364_compiled.mp3″},”canonical_url”:”https://www.irishtimes.com/culture/stage/2025/09/02/cautionary-tales-composer-errollyn-wallen-i-always-carry-my-inner-child-with-me-shes-very-precious/”,”content_elements”:[{“_id”:”EOU6XX3RQZGSLDFDTCG65GTBDE”,”additional_properties”:{},”content”:”When Errollyn Wallen was studying composition at the University of Cambridge, as a postgraduate in the 1980s, she had to write about a work by the English composer Michael Tippett.”,”type”:”text”},{“_id”:”RROLMRLW2JC7HBXF2SE7IKX4CM”,”additional_properties”:{},”content”:”“I made such a fantastic discovery about that piece,” she says. “I just went to the university library and took out a book that had never been taken out since the library acquired it, in 1937, and it answered everything that I needed to know. Isn’t that incredible?””,”type”:”text”},{“_id”:”4PRJ7FGLQJEWZLBF7KW7747AEM”,”additional_properties”:{},”content”:”Wallen is telling the story because the background image I use for online calls shows the Long Room of the Old Library at Trinity College Dublin. Her opera, Cautionary Tales, which she composed in 2010, based on the stories by Hilaire Belloc, is on its way to Ireland for the first time, for a series of performances by Opera Collective Ireland.”,”type”:”text”},{“_id”:”NUFSZ5C4JVB25MJ6D3D5LSGRIM”,”additional_properties”:{},”content”:”Opera “is, for me personally, one of the most natural forms to work in”, she says. “And it comes from childhood, you know, the idea of dressing up, with music, words, playing. I’ve had the opportunity to write over 20. I’m now on my 23rd. They’ve all been for different situations, different-size ensembles. Some have been for a huge cast; some are just small chamber works. “,”type”:”text”},{“_id”:”IM2TBGAUFRBVNPRJGYZTE2TSDA”,”additional_properties”:{},”content”:”“But any opportunity I have to write for the stage I take it. Because there’s so much to learn, not just from the performers, but also the teams you work with, the directors, the librettists, the dramaturge. I’m very drawn to the form.””,”type”:”text”},{“_id”:”X3DF2YC42FD4VAQ4JFY5FDGE6I”,”additional_properties”:{},”content”:”The first opera Wallen saw in the flesh was from the early end of the repertoire, La Calisto, by Francesco Cavalli, which she went to on a school trip to Glyndebourne. This mid-17th-century work came only 44 years after Monteverdi’s L’Orfeo of 1607, the earliest opera to be an undisputed masterpiece. She calls it a “more stripped-away version of opera”, but “one that stayed with me”.”,”type”:”text”},{“_id”:”I5A3KFYT7FBDNE7U2QR5KNEMFY”,”additional_properties”:{},”content”:”But even before that, she explains, she had been inspired at home – by placemats, of all things. “In fact,” she says, “I found one here the other day. It has pictures of scenes from Carmen. It shows dancers all dressed up, and the reproduction is a very lurid colour.”,”type”:”text”},{“_id”:”WTQHUXRY45GPDFQ5FX7KXG4FJQ”,”additional_properties”:{},”content”:”“I would have sat looking at these stagings – you know, sets and scenes – every dinner time. So much so that I remember announcing that I wanted to be an opera singer without knowing what an opera singer was. But I knew it involved throwing myself around. So it’s really nice that I now work in the form.””,”type”:”text”},{“_id”:”RGZCIER55ZDSHIULAHTLRAI4XM”,”additional_properties”:{},”content”:”A lot of composers she speaks to struggle with opera, Wallen says – “the fact that you can’t hear the words, the fact that sometimes the voices sound … maybe overblown, and the plot’s a bit ridiculous. But once you’re working in the form yourself you start to understand more deeply why certain things are the way they are”.”,”type”:”text”},{“_id”:”YOYJUB5Y4ZFITCIFT36TEBYB7M”,”additional_properties”:{},”content”:”Her favourites, she says, are possibly Puccini’s Tosca and Britten’s Peter Grimes. “And, in a funny sort of way, they’re linked, with the orchestra so powerful in setting the scene alongside the story and the singers – that idea of being able to achieve an integrated whole where every element in the score is almost complete.””,”type”:”text”},{“_id”:”YOMTKV7SP5AOTL7NT6WKKQKLPY”,”additional_properties”:{},”content”:”Wallen recalls a semi-staged Peter Grimes at the Royal Festival Hall in London with the Bergen Philharmonic Orchestra under Edward Gardner. “That was a revelation to me: just a few scenes acted out with a tiny bit of costume, but it was the most powerful experience.”,”type”:”text”},{“_id”:”G5XTDALCSBFJRL4ULE254SDIP4″,”additional_properties”:{},”content”:”“It reminds me of the duty to the score. I think sometimes directors would do well to really study the score, really study closely the music. Because with something like Peter Grimes it’s all there in the music; it tells you what to do. We almost didn’t need a set. It is the atmosphere.”,”type”:”text”},{“_id”:”ZXCN7QQ2MRFCVJFJHK3LJXZJL4″,”additional_properties”:{},”content”:”“Opera at its best can really convey this powerful emotional force and the complexity of it. Through the music and the voices you can create this counterpoint of complex emotions. Yet at the same time it can be amazingly clear.””,”type”:”text”},{“_id”:”NXZWO5BSGFGYPLCHKR6JCTINLE”,”additional_properties”:{},”content”:”Wallen suggests that, in opera, “composers are often underestimated. Writing an opera, we have to see everything ourselves; we have to take care of everything. Like, I sometimes invent backstories for my characters, so I really know about them”.”,”type”:”text”},{“_id”:”ING6ZVL4XJFJJDZBPD55S4YXNU”,”additional_properties”:{},”content”:”“I think people feel that all composers do is just write the music and that we have no understanding of the whole range of drama that we’re dealing with. But with opera, more than anything, everything has to work in that score. That’s the fun part of it.””,”type”:”text”},{“_id”:”OQNXYIV2QRDB7A4EZCSDGTS7IM”,”additional_properties”:{},”content”:”The score, Wallen says, “has many answers. That’s all because the composer will have questioned themselves over and over again about what might seem like a simple chord. Everything is part of this architecture where the smallest details really do matter”.”,”type”:”text”},{“_id”:”A77BDVXF6BGQHNWKOLFSWGDLPY”,”additional_properties”:{},”content”:”She composed Cautionary Tales because the English company Opera North, which is based in Leeds, “wanted an opera that was for children and that could tour with small forces. I think we had a choice of subjects, possibly Shockheaded Peter or Cautionary Tales. I really wanted to work with Cautionary Tales, and I can’t tell you why exactly – I would have remembered it from my childhood\”. “,”type”:”text”},{“_id”:”UYWIMPXAXRGE3CE7EHTOYEMCM4″,”additional_properties”:{},”content”:”Wallen points out how specific comedy needs to be, and how clear the words need to be for children. “Pia Furtado, who was directing it, adapted some of it, so, though we’re using the words of Hilaire Belloc, scenes are framed with extra text.””,”type”:”text”},{“_id”:”Q7HUJNZ2RNFU3KFLJBTLHUO6OE”,”additional_properties”:{},”content”:”She worked on the opera at a particularly challenging time in her life. “,”type”:”text”},{“_id”:”KE2LP56QBFDW5AUQUYZ2QEHWB4″,”additional_properties”:{},”content”:”“My father was very sick and dying. So as soon as I handed in the full score I had to get on a plane to organise my father’s funeral. And then, while I was there, I had to slightly adjust some percussion parts. So it’s funny: it’s such a joyous opera, but also in the background was this rather sad story. “,”type”:”text”},{“_id”:”PRYNN5Y3LNHTJGTIGDEIWHSLYM”,”additional_properties”:{},”content”:”“But I really enjoyed working on it. It’s got just four singers and three instrumentalists. But it sounds very rich. Each tale is like a little vignette and takes its starting point from a Bach prelude or fugue. I don’t know why that is. It just occurred to me and it seems to work.””,”type”:”text”},{“_id”:”LKXXHM7I5FHU3MJKPKAVIEGKPA”,”additional_properties”:{},”content”:”One reviewer pointed out that it was an opera without much tenderness. “The fact is these are brutal, brutal poems, aren’t they?” Wallen says. “Every child is a neglected child, with parents that don’t care about it. The child is just high-spirited or wayward, and they all come to a terrible end. But, the thing is, children understand that too. Children tell you the truth.”,”type”:”text”},{“_id”:”E3ZSOAIHPVHA3G2UTTOCS3344Q”,”additional_properties”:{},”content”:”“I also once made up an opera with children. It was called Clothesburger. The children had to provide some lyrics, and I was astonished with what came back. Because I thought in a million years I could never have such ingenuity and the ability to come up with the no-checks, freeflowing imagination. They’re wonderful.””,”type”:”text”},{“_id”:”NXNTL2VOZRBOBEZO6M55USMVKM”,”additional_properties”:{},”content”:”Wallen, who as well as being the first black woman to have a work performed at the BBC Proms, in 1998, was awarded an MBE in 2007 and a CBE in 2020, has been master of the king’s music since August 2024. She is the first black composer and only the second woman to hold the position, an honorary role whose holder often composes pieces for royal occasions such as weddings, jubilees and coronations.”,”type”:”text”},{“_id”:”NZ36IFTSVBF47I6CM5ZFLRS4QQ”,”additional_properties”:{},”content”:”She describes all of this as being like “an out-of-body experience. But I always carry my inner child with me. She’s very precious to me, because that’s the little girl that just dreamed things that nobody around me was dreaming and they didn’t understand what I was saying”.”,”type”:”text”},{“_id”:”3ZSW3NNAJVHDHPTETQNLQWCT7U”,”additional_properties”:{},”content”:”“I didn’t understand it then. But I am living the life of that seven-year-old. I was dreaming of these things and of sounds,” Wallen says. “It’s marvellous having recognition and accolades, but it brings a responsibility with it, and that responsibility is always to music, to really try and do the best I can do for music.””,”type”:”text”},{“_id”:”UKD7RND5TVGBLP3VVHFEHOULS4″,”additional_properties”:{},”content”:”Errollyn Wallen’s Cautionary Tales, staged by Opera Collective Ireland, tours to the Mermaid Arts Centre, in Bray, Co Wicklow (Saturday, September 13th), Civic Theatre, in Tallaght, Dublin (Tuesday, September 16th, and Wednesday, September 17th), Solstice Arts Centre, Navan, Co Meath (Friday, September 19th), and An Táin Arts Centre, in Dundalk, Co Louth (Sunday, September 21st). Wallen’s new short piece Flourish gets its Irish premiere from the Chineke! Orchestra at the National Concert Hall, Dublin, on Tuesday, September 30th”,”type”:”text”}],”content_restrictions”:{“content_code”:”premium”},”credits”:{“by”:[{“additional_properties”:{“original”:{“byline”:”Michael Dervan”}},”name”:”Michael Dervan”}]},”description”:{“basic”:”Opera Collective Ireland is giving Cautionary Tales its Irish premiere. The composer explains why the form is so important to her”},”display_date”:”2025-09-02T04:11:00Z”,”headlines”:{“basic”:”Cautionary Tales composer Errollyn Wallen: ‘I always carry my inner child with me. She’s very precious’”,”native”:””},”label”:{“audio_project_id”:{“text”:”5469″}},”promo_items”:{“basic”:{“_id”:”6ABFPSYROZBYFMKPFZXMWWX3H4″,”auth”:{“1″:”81d6a0d7bd4d7cabc77b8b505c3845be19fee47fe8528bb70b884bbda604aefe”},”focal_point”:{“x”:890,”y”:936},”type”:”image”,”url”:”https://cloudfront-eu-central-1.images.arcpublishing.com/irishtimes/6ABFPSYROZBYFMKPFZXMWWX3H4.jpg”}},”subtype”:”feature”,”taxonomy”:{“sections”:[{“name”:”Stage”},{“name”:”Culture”},{“name”:”Music”}]},”type”:”story”,”website_url”:”https://www.irishtimes.com/culture/stage/2025/09/02/cautionary-tales-composer-errollyn-wallen-i-always-carry-my-inner-child-with-me-shes-very-precious/”,”websites”:{“irishtimes”:{“website_section”:{“_id”:”/culture/stage”,”additional_properties”:{“original”:{}},”name”:”Stage”}}}},{“_id”:”JOAC5GZYOBGNJNALLI7XPV3WOE”,”additional_properties”:{“audio_duration”:641,”audio_url”:”https://cdn.beyondwords.io/audio/projects/8948/podcasts/cae1d6f9-247b-4f1e-90e0-9a56e0089914/versions/1756286626/media/1eb714a8f24174b83ef671b3295d7df8_compiled.mp3″},”canonical_url”:”https://www.irishtimes.com/culture/stage/2025/08/30/dublin-fringe-festival-2025-alison-spittle-felispeaks-and-21-other-attention-grabbing-shows-to-keep-an-eye-out-for/”,”content_elements”:[{“_id”:”5CKJQX5AXVDRZCYNMNBC4RM7RA”,”additional_properties”:{},”content”:”Dublin Fringe Festival is about to be unleashed on the city, with more than a fortnight of shows. It’s a great opportunity to sample the huge range of theatre, comedy, spoken word, dance, music, storytelling, circus, cabaret and more being made in Ireland – plus some international treats too. “,”type”:”text”},{“_id”:”EYXFIQYJBFA4BM3C5PEYSVX5NY”,”additional_properties”:{},”content”:”Bee Sparks, in her first outing as the festival’s director – she was formerly its programmer – promises “joy, community, brazen truths and blazing dance floors” for the fringe’s 31st year, which features 85 events at 36 venues over the next few weeks. The stats: more than 650 artists working on 492 performances, including 56 world premieres, 67 Irish premieres and five Dublin premieres.”,”type”:”text”},{“_id”:”CTQR3H52YRAK5AMPV5VBOAV32Y”,”additional_properties”:{},”content”:”There are also shows this year in less usual venues. The festival has teamed with Guinness’s experimental Open Gate brewery and Roe & Co distillery to transform their spaces for six performances (in the Creativity on Tap series).”,”type”:”text”},{“_id”:”EPK3UA2ICFGRFK4ZRZTINLN5IQ”,”additional_properties”:{},”content”:”The National Leprechaun Museum hosts Hungry Grass/Stray Sod, about an Irish bisexual and a Ugandan lesbian meeting in a foreign land. Holdings, from Clara McSweeney and Mel Galley, takes place on the phone, online and by post, to see Dublin city differently. “,”type”:”text”},{“_id”:”SWPNR6XEBFHB5FLUNVZMTX64HE”,”additional_properties”:{},”content”:”What Are We Waiting For, at Loughlinstown Community Rooms, sees Men’s Shed members and the writer Colm Keegan explore mental health and masculinity. CoisCéim Dance Theatre presents Performing Memory free in civic spaces across the city. “,”type”:”text”},{“_id”:”TGMNBKMTWVG3VLQ7FFGCLHROMA”,”additional_properties”:{},”content”:”The festival also has various schemes to improve accessibility, and tickets generally are great value.”,”type”:”text”},{“_id”:”LGEWCL62RVGLJDEQS4IJGTJ26U”,”additional_properties”:{},”content”:”Here, in chronological order, are some of the productions that have caught our eye.”,”type”:”text”},{“_id”:”47YGVOQNKVFB7JFJHRWDQ6XVPM”,”additional_properties”:{},”type”:”image”},{“_id”:”Q3NO7K2O2BGWRDNEHLUS6I3QUY”,”additional_properties”:{},”content”:”I Want to Speak to Your Manager“,”type”:”header”},{“_id”:”VJ2NNVOWMVFL3JDP5GQBW6ZVJU”,”additional_properties”:{},”content”:”Pearse Centre, Dublin 2, Friday, September 5th, to Sunday, September 14th”,”type”:”header”},{“_id”:”R4K6N6DQ5ZD2TIIJYKCSVIGVXU”,”additional_properties”:{},”content”:”The Cork writer and artist Holly Hughes blends personal storytelling and stand-up in her one-woman show, which has the subtitle How I Was Radicalised and Became … Karen. The story of a fight for justice, one complaint email at a time, humorously deconstructing the archetype, to leave you asking, Is being a Karen really such a bad thing?”,”type”:”text”},{“_id”:”22WVTMZBKZBNFCEPUVQZYOMGZQ”,”additional_properties”:{},”content”:”Octopus Children“,”type”:”header”},{“_id”:”GQGQ6QILKFFDZILDAIFJOJRZD4″,”additional_properties”:{},”content”:”Project Arts Centre, Dublin 2, Friday, September 5th, to Sunday, September 14th”,”type”:”header”},{“_id”:”GYKO6356TFDARGTNARVSCOKSPQ”,”additional_properties”:{},”content”:”The new show from Felicia Olusanya, or FeliSpeaks, with Thispopbaby, is about growing up as a “black, Irish, queer culchie”. With music and spoken word woven throughout. “,”type”:”text”},{“_id”:”5H6M6ST6TVBWVHDYE6LLGLAVNU”,”additional_properties”:{},”type”:”image”},{“_id”:”ZQSF7NGEBJBLRPKC3DWQT453L4″,”additional_properties”:{},”content”:”Pea Dinneen: Raising Her Voice“,”type”:”header”},{“_id”:”JAVIBN2RHFGKBDEZLMZSA6Q2ZI”,”additional_properties”:{},”content”:”Project Arts Centre, Dublin 2, Saturday, September 6th, to Sunday, September 14th “,”type”:”header”},{“_id”:”TYYTH44BYVAGZKSU4T7IAF4GRY”,”additional_properties”:{},”content”:”Trans woman Pea Dinneen’s musical story, a cabaret of personal narrative.”,”type”:”text”},{“_id”:”LCUAAVBNJZHI5FJXALXT2NJX64″,”additional_properties”:{},”content”:”Pea Dinneen: ‘Raising Her Voice was born out of frustration at seeing myself reflected nowhere in the Irish theatrical canon’”,”type”:”interstitial_link”},{“_id”:”46H5ENPBSVCJVNK2NOBQ23UNMA”,”additional_properties”:{},”content”:”Young Radicals”,”type”:”header”},{“_id”:”XKR7WQF43VGNRFOFDSLCCYUOE4″,”additional_properties”:{},”content”:”Various venues and dates, Friday, September 5th, to Saturday, September 20th”,”type”:”header”},{“_id”:”P7VMTM36YND5LH2EWVK2VZV63I”,”additional_properties”:{},”content”:”A programme of shows made for and by young people, including Maisie Lee’s The Shape of Quiet Feelings (Mill Theatre, Dundrum, Friday, September 5th, to Sunday, September 14th), working with children aged eight-plus to explore the idea of change; and Bum Notes’ Pick’n’Mix! (Smock Alley, Dublin 8, Saturday, September 20th), in which children will create a live musical, along with comedians, in 60 minutes. “,”type”:”text”},{“_id”:”DBWDFAGDG5FEDEF4FWQ6RVGCXU”,”additional_properties”:{},”content”:”Clash at the Quays! II: Lokomania“,”type”:”header”},{“_id”:”H6P6W5X3HZAE5C77BXVPAIC3YI”,”additional_properties”:{},”content”:”The Complex, Dublin 1, Saturday, September 6th”,”type”:”header”},{“_id”:”35Z7U6XE7NALVGETCFJ2DDX7BU”,”additional_properties”:{},”content”:”The musicians Ahmed, With Love; Sloucho; VaticanJail; Julia Louise Knifefist; Lil Skag; Curtisy and Kibo take to the ring to settle some scores in a show of musical rivalries, wrestling blood feuds, and suplex-level silliness, where live music collides with the weird world of professional wrestling.”,”type”:”text”},{“_id”:”JJM2OJIH6REPDOUOR3FNLZADHQ”,”additional_properties”:{},”type”:”image”},{“_id”:”3E4I7DMZMNGLJPOTRQ6CPNLI6M”,”additional_properties”:{},”content”:”Good With Faces“,”type”:”text”},{“_id”:”QCDC7RRDNBECRGQJ3QZTJENALY”,”additional_properties”:{},”content”:”Project Arts Centre, Dublin 2, Saturday, September 6th, to Saturday, September 13th”,”type”:”header”},{“_id”:”ALK5VXKTDNHXTGBCIB6DGEOHQQ”,”additional_properties”:{},”content”:”This new play from the critically acclaimed theatre-maker Oisín Kearney is billed as a contemporary exploration of families, abuse and what it means to care.”,”type”:”text”},{“_id”:”FFR3IWABDVAADIVLZCRTVB5THA”,”additional_properties”:{},”content”:”Offspring: A Modern Frankenstein“,”type”:”header”},{“_id”:”CHAMGUGD2BB47IUVDL4CO53AMA”,”additional_properties”:{},”content”:”Smock Alley Theatre, Dublin 8, Sunday, September 7th, to Saturday, September 13th”,”type”:”header”},{“_id”:”K2WCLJKREJGHPHWOBJYBCXJ6YU”,”additional_properties”:{},”content”:”Emily Terndrup’s new dance-theatre work, a visceral reimagining of Mary Shelley’s horror classic, promises to thrust audiences into the chaos, beauty and terror of creation, whether birthing a child, a work of art or something far more monstrous.”,”type”:”text”},{“_id”:”HSFBUPD7TRFEHGL2AVAIQONJ74″,”additional_properties”:{},”content”:”Aliens“,”type”:”header”},{“_id”:”7UR773N5AJCIDNPAQAYPQXJAPY”,”additional_properties”:{},”content”:”Smock Alley Theatre, Dublin 8, Monday, September 8th, to Wednesday, September 10th”,”type”:”header”},{“_id”:”3XR36GOX7RBMZIYZRMFHUAMY44″,”additional_properties”:{},”content”:”This autobiographical, multilingual documentary play by the intergenerational Belfast company Curious Industries explores what it means to cross a border, between countries, cultures and generations, as mother and daughter Marta McIlduff and Alessandra Celesia take a road trip, both in life and on stage, weaving together personal stories, interviews and reconstructions of historical events. The starting point is the stories of Italians who emigrated to Northern Ireland between the wars, continuing to move on to New York.”,”type”:”text”},{“_id”:”LQNF4PLXSNDTPBXTUM6YOZB52U”,”additional_properties”:{},”type”:”image”},{“_id”:”EZCTGHCCB5A6DMLVWNPCQEXYTU”,”additional_properties”:{},”content”:”Itch“,”type”:”text”},{“_id”:”RDUXKYR76VFHDAWRPHNRUO3UCA”,”additional_properties”:{},”content”:”Smock Alley Theatre, Dublin 8, Tuesday, September 9th, to Saturday, September 13th”,”type”:”header”},{“_id”:”26VW74PQLREDNATRTJQDPF74JM”,”additional_properties”:{},”content”:”In this aerial work, Christopher McAuley explores life as a young man growing up a queer Catholic with chronic eczema in post-Troubles Belfast. “,”type”:”text”},{“_id”:”IGDDPW5NI5BFFKWYGIBJSORO5Q”,”additional_properties”:{},”content”:”Testo“,”type”:”header”},{“_id”:”HIW6UIBURZBMVAIJGTCG4ES6QE”,”additional_properties”:{},”content”:”Project Arts Centre, Dublin 2, Tuesday, September 9th, and Wednesday, September 10th”,”type”:”header”},{“_id”:”6VBWNG33VVFG5BB66M5C3IPWPI”,”additional_properties”:{},”content”:”The UK drag artist Wet Mess promises to “messify transitions, testosterone and the edges of drag” in this solo show combining costume, dance, lip-syncing and avant-garde theatre. “,”type”:”text”},{“_id”:”KENSFAI2R5FBLEGHWSRORHDM4U”,”additional_properties”:{},”content”:”Train Man“,”type”:”header”},{“_id”:”KTGVTOUPFREVJOG7AZCHX4ESQ4″,”additional_properties”:{},”content”:”Pearse Centre, Dublin 2, Tuesday, September 9th, to Sunday, September 14th”,”type”:”header”},{“_id”:”BJ7ZYFYKINFNJPJMQ6DINFOSEE”,”additional_properties”:{},”content”:”The comedian Caroline McEvoy arrives fresh from Edinburgh with a tale of sibling rivalry in post-Troubles Northern Ireland and her relationship with her younger, neuro-divergent brother, who loves trains, buses and getting his way.”,”type”:”text”},{“_id”:”PC2FJHUK5FFNTD4BTUTV7HRZLE”,”additional_properties”:{},”content”:”+353 Presents: The Revenger’s Tragedy“,”type”:”header”},{“_id”:”HIR2SNCJSJC4PDZ63V7QRM3TGU”,”additional_properties”:{},”content”:”Abbey Theatre, Dublin 1, Wednesday, September 10th, to Saturday, September 13th”,”type”:”header”},{“_id”:”ILGXZV5KGRFYBNAJIOJVSXCQPM”,”additional_properties”:{},”content”:”This “chopped and screwed reimagining” of Thomas Middleton’s Jacobean revenge tragedy, performed with a live orchestra, engages with black identity and drill music, the hip-hop subgenre. Where words are weapons and bodies are battlegrounds, two men wrestle with lust, shame and revenge.”,”type”:”text”},{“_id”:”YYG3ZPBLXFGYLH5Y26VQFM2OAE”,”additional_properties”:{},”type”:”image”},{“_id”:”NVGRWHPOOJD6JIAJQ45R2ZH6PM”,”additional_properties”:{},”content”:”Chop!“,”type”:”text”},{“_id”:”FLQNRZJLANEGDBALOWID4EVESY”,”additional_properties”:{},”content”:”Smock Alley Theatre, Dublin 8, Wednesday, September 10th, to Saturday, September 13th”,”type”:”header”},{“_id”:”4RDX2AKMPZENVKYDJPAMAEREX4″,”additional_properties”:{},”content”:”Lords of Strut’s Cian Kinsella, fresh from touring with Thisispopbaby’s Riot, tackles climate and masculinity with laughter in a solo show described as “a violently stupid and stupidly violent deep dive into fragile egos, environmental collapse and the absurdity of existence”. “,”type”:”text”},{“_id”:”3PHU7RC74ZA4PO2WUSI6VRBW5M”,”additional_properties”:{},”content”:”Seón Simpson’s on a Tangent“,”type”:”header”},{“_id”:”DCOZ2ZWF6JGGFG2WTXQI7QTNRA”,”additional_properties”:{},”content”:”New Theatre, Dublin 2, Wednesday, September 10th, to Saturday, September 13th”,”type”:”header”},{“_id”:”RW3SNO6YCRGRPPRDZ6FJUXEC2M”,”additional_properties”:{},”content”:”Can you make poems about self-harm and suicide funny? Seón Simpson believes so: she turns her teenage diary and once-secret poetry blog into a mix of stand-up comedy, theatre and Ted talk about mental health, oversharing and wringing laughs out of teenage trauma.”,”type”:”text”},{“_id”:”LE4FS2HDOREDBLDVYSQ4N2RNU4″,”additional_properties”:{},”content”:”Reverb“,”type”:”header”},{“_id”:”AYL7UZYYYFCK3DQDFY7K7JMPUY”,”additional_properties”:{},”content”:”Civic Theatre, Tallaght, Dublin 24, Thursday, September 11th, and Friday, September 12th”,”type”:”header”},{“_id”:”ZDTSH7RJLVF2TO3TUDZMQGY5EM”,”additional_properties”:{},”content”:”Luail, Ireland’s national dance company, perform high-energy dance choreographed by Sarah Golding to pulse-pounding live music by the composer and musician Lisa Canny. “,”type”:”text”},{“_id”:”KNURPVI27RF3RPCIDNIWUUSSRE”,”additional_properties”:{},”content”:”Am I the A**hole?“,”type”:”header”},{“_id”:”WRRMVGEZIRCS7BOSCYL2VTKW54″,”additional_properties”:{},”content”:”Smock Alley Theatre, Dublin 8, Thursday, September 11th, to Saturday, September 13th”,”type”:”header”},{“_id”:”3FTJXSCINVE43NJG72LETYDTLU”,”additional_properties”:{},”content”:”An interactive courtroom drama from Dafe Orugbo and Lisa Nally that lets you sign up to be a member of the jury as part of a satirical, comedic, experimental show about social politics, turning the theatre-going experience into a game of cunning and manipulation.”,”type”:”text”},{“_id”:”QED4MQCWJ5ADXMZSE3RDW7FUDM”,”additional_properties”:{},”type”:”image”},{“_id”:”YUMWA24FGNCNNALVH23HJSKKFQ”,”additional_properties”:{},”content”:”Amsterdam“,”type”:”text”},{“_id”:”BXZ3ZN2NRVGEJERWUVBV5DQFGU”,”additional_properties”:{},”content”:”Glass Mask Theatre, Dublin 2, Friday, September 12th, to Thursday, September 18th”,”type”:”header”},{“_id”:”Z2RZ5IKIFNFLFM67KSCJZX5SQ4″,”additional_properties”:{},”content”:”David Rawle’s new play, which he also stars in, is an anxious love story about the ultimate bad idea: falling for your best friend. Two people arrive in Amsterdam as friends, but somewhere between canals and coffee shops they develop some strong feelings. Is it love in the air, or just weed?”,”type”:”text”},{“_id”:”4MZCDLH3R5EB3LZPKL2YUVRX7M”,”additional_properties”:{},”content”:”Queens of Comedy“,”type”:”header”},{“_id”:”VIDRWSL43RGXZHIL4DIOHL526E”,”additional_properties”:{},”content”:”Smock Alley Theatre, Dublin 8, Sunday, September 14th, to Tuesday, September 16th”,”type”:”header”},{“_id”:”K2BXEX7RUBGKPERVW4TCXAWC2M”,”additional_properties”:{},”content”:”Aideen McQueen and Sophia Wren (aka Sophia Cadogan) host three nights of fast-paced stand-up with a rotating cast of Irish women comedians, from rising stars to established names.”,”type”:”text”},{“_id”:”XTORPHIGHFAD3NTPB26H222ULA”,”additional_properties”:{},”content”:”Big“,”type”:”header”},{“_id”:”6RTM6WEI4BBXBBTXHPAQLQ5CAU”,”additional_properties”:{},”content”:”Project Arts Centre, Dublin 2, Tuesday, September 16th, to Saturday, September 20th”,”type”:”header”},{“_id”:”JY7SE4DZJJD6ZKWVP4YP2TFTFM”,”additional_properties”:{},”content”:”Alison Spittle confronts misogyny, sexuality, classism, death and M&Ms in a show about the changes the past year has imposed on her, and her recent weight-loss and health journey.”,”type”:”text”},{“_id”:”VZQHB6FDTJHI5LC2VYGSIBMSWI”,”additional_properties”:{},”content”:”Alison Spittle: ‘I’m treated more like a human being now I’ve lost weight’”,”type”:”interstitial_link”},{“_id”:”NR6CKCD3DFCIJKQPLRAUKZX2E4″,”additional_properties”:{},”content”:”Last Gig Ever!“,”type”:”header”},{“_id”:”VHXK7KO5FFFBHJXBE3EUSNJIDM”,”additional_properties”:{},”content”:”Smock Alley Theatre, Wednesday, September 17th, to Saturday, September 20th”,”type”:”header”},{“_id”:”AQL6G7EYLRCF7O5HK77KZZ7QSI”,”additional_properties”:{},”content”:”This Dutch piece of dance theatre, from Agents & Juice, dives into the highs and lows, constraints and complexities of nightlife, DJ culture and nocturnal challenges, exploring the afterhours through slapstick comedy and rigorous movement.”,”type”:”text”},{“_id”:”P4H7GUKYDNFBNLKGGH7AIS27EU”,”additional_properties”:{},”content”:”Change“,”type”:”header”},{“_id”:”7LKEIR36FFGODNYADS2L5VL47E”,”additional_properties”:{},”content”:”Project Arts Centre, Dublin 8, Thursday, September 18th, to Saturday, September 20th”,”type”:”header”},{“_id”:”LCOUYAW6UNHB5FXNPFLULNOZP4″,”additional_properties”:{},”content”:”The integrated dance company Croí Glan angles a hopeful lens on climate change while exploring disability, environment and immigration. A call to climate action through movement, music and diverse bodies in motion.”,”type”:”text”},{“_id”:”4GUB3A77P5AIFMZGED5FPSOM4Y”,”additional_properties”:{},”type”:”image”},{“_id”:”25GGOV256BDQXDPPVYLF4K7TRY”,”additional_properties”:{},”content”:”Cirque du Honeypot“,”type”:”text”},{“_id”:”WVJ4IWPSCFE5ZGEKQPOLN4VAWM”,”additional_properties”:{},”content”:”Grand Social, Dublin 1, Friday, September 19th”,”type”:”header”},{“_id”:”KG3TR4BWBJB3TL6JLYIRRF36TE”,”additional_properties”:{},”content”:”A queer-circus-themed club night with music, visuals, performance and interactivity, collaborations with local creatives and Honeypot friends, DJs, face painting and hypnotic dance-floor energy.”,”type”:”text”},{“_id”:”G7WGMRRTAFA4NDF53XR4INY65M”,”additional_properties”:{},”content”:”Dublin Fringe Festival runs from Saturday, September 6th, until Sunday, September 21st”,”type”:”text”}],”content_restrictions”:{“content_code”:”metered”},”credits”:{“by”:[{“additional_properties”:{“original”:{“byline”:”Deirdre Falvey”}},”name”:”Deirdre Falvey”}]},”description”:{“basic”:”This year’s festival is a great opportunity to sample the huge range of theatre, comedy, spoken word, dance, music and more being made in Ireland – plus some international treats too”},”display_date”:”2025-08-30T04:12:00Z”,”headlines”:{“basic”:”Dublin Fringe Festival 2025: Alison Spittle, FeliSpeaks and 21 other attention-grabbing shows to keep an eye out for”,”native”:””},”label”:{“audio_project_id”:{“text”:”8948″}},”promo_items”:{“basic”:{“_id”:”IMIT5BMMYFHJPLBPOWQHQ3QLOE”,”auth”:{“1″:”ee3109d5bd1868efe6dd90eb1ba32d5f803ae86b2b2bcdd375b7287bc4623e19″},”focal_point”:{“x”:2776,”y”:1569},”type”:”image”,”url”:”https://cloudfront-eu-central-1.images.arcpublishing.com/irishtimes/IMIT5BMMYFHJPLBPOWQHQ3QLOE.jpg”}},”subtype”:”default”,”taxonomy”:{“sections”:[{“name”:”Stage”},{“name”:”Culture”}]},”type”:”story”,”website_url”:”https://www.irishtimes.com/culture/stage/2025/08/30/dublin-fringe-festival-2025-alison-spittle-felispeaks-and-21-other-attention-grabbing-shows-to-keep-an-eye-out-for/”,”websites”:{“irishtimes”:{“website_section”:{“_id”:”/culture/stage”,”additional_properties”:{“original”:{}},”name”:”Stage”}}}},{“_id”:”MI7ATN2K6JF57KWKBBBWSOQBY4″,”additional_properties”:{“audio_duration”:533,”audio_url”:”https://cdn.beyondwords.io/audio/projects/8948/podcasts/089db5a4-7267-4a9f-8941-5cf78b628a30/versions/1756285932/media/0cc4a25af3d6003cfc2cc52c401366b4_compiled.mp3″},”canonical_url”:”https://www.irishtimes.com/culture/stage/2025/08/30/the-revengers-tragedy-i-love-the-idea-that-theres-a-jacobean-revenge-tragedy-inside-each-bedroom-rappers-head/”,”content_elements”:[{“_id”:”N4VJWTHJ5ZAI5D5DG7FUVQXF6U”,”additional_properties”:{},”content”:”Hip-hop and theatre? We’ve been here before – but a new production premiering at Dublin Fringe Festival is worlds away from Hamilton, Lin-Manuel Miranda and the founding fathers of the United States. Jacobean theatre and drill music may not seem like the most natural of bedfellows, but +353 Presents: The Revenger’s Tragedy, at the Abbey Theatre, posits the theory that they have more in common than you think.”,”type”:”text”},{“_id”:”355EXGPJOVFHND3GRQHR7DVEOI”,”additional_properties”:{},”content”:”Kevin Keogh, a self-confessed hip-hop nerd, has adapted and directed a new version of Thomas Middleton’s revenge tragedy, which was first performed in 1606 and underwent a revival in the 20th century after centuries of neglect. “,”type”:”text”},{“_id”:”VD5UOOZ4WRBCJMKL2WU5S3Y5N4″,”additional_properties”:{},”content”:”Keogh had the idea for the adaptation when Jennifer Jennings of Thisispopbaby, the innovative Irish theatre company, asked him to create a five-minute cabaret-style show for the Beyond the Pale festival a few years ago.”,”type”:”text”},{“_id”:”PU7OACTFRVDMNJSBMPFGYZPRZY”,”additional_properties”:{},”content”:”“I was doing a lot of work with rave and techno music and making theatre in that space – which is how I linked up with Thisispopbaby to begin with,” he says. “I think they were expecting me to turn up with something in that sphere, and I arrived with a string quartet and a rapper.”,”type”:”text”},{“_id”:”OMQM6MM45NER7HFLEUZFDAKW5E”,”additional_properties”:{},”content”:”“But they actually didn’t even blink, fair play to them. And that was kind of the genesis of it all. I felt, like, ‘Okay, there’s something to be unpicked here’.””,”type”:”text”},{“_id”:”RIN6OAOLPRH3XFW7SHNIGHZJXM”,”additional_properties”:{},”content”:”Keogh was especially interested in how the themes of The Revenger’s Tragedy – toxic masculinity, greed, vengeance, a lust for power and a lot of (literal) backstabbing and double-crossing – correlated to modern-day drill music, the subgenre of hip-hop known for its ultraviolent lyrics.”,”type”:”text”},{“_id”:”67F7VHPB6VCPDHHPDX7CJ64QY4″,”additional_properties”:{},”content”:”“Originally I thought of it as this off-the-cuff idea, because I was reading some Jacobean text and I thought, ‘You know what? This reads like a rap album’,” the Dublin theatremaker says. “And then around 2020, when the whole drill movement started happening in Ireland, I thought, ‘This is so theatrical: it’s these kids in masks saying this really gruesome stuff’.”,”type”:”text”},{“_id”:”E5HDOQJPANAIXGHON5VYF2RMRI”,”additional_properties”:{},”content”:”“But it is the gesture of writing it, recording it, shooting the video, making it all look tough and putting it on YouTube that is the violence, not what they’re saying.”,”type”:”text”},{“_id”:”LDAHTBSV6ZCYRB4OHEI5CO755E”,”additional_properties”:{},”content”:”“And that’s kind of the same for The Revenger’s Tragedy. There’s no real ‘good guy’ in the story; it’s this idea of deep, deep corruption, and the characters themselves are so flawed.”,”type”:”text”},{“_id”:”NZFYJGBIHJCP3EZG45QIK3URGA”,”additional_properties”:{},”content”:”“But what I was interested in is Middleton writing that in 1606, perhaps being frustrated with Shakespeare, as a societal commentary on King Lear, and how that mirrors the drill scene in Ireland – [drill artists] writing from that same exact place: no care for what they’re saying, or how it sounds, or how it comes across, just ‘This is how frustrated I am’.””,”type”:”text”},{“_id”:”C2EPF2GCFVHYZPRKD3NHYJAQYM”,”additional_properties”:{},”content”:”Music plays a big part in this new adaptation, with an original score by Colin Fitzpatrick and Ire Adebari performed live by a 13-piece orchestra.”,”type”:”text”},{“_id”:”HECAJMAUFNG5FBNJVDIXHO7N7E”,”additional_properties”:{},”content”:”It started as a music project, with monologues from the play, Keogh says. “When I brought it to Beyond the Pale I was, like, ‘Cool, a music festival: I’ll do something music-orientated’. I texted my friend, saying, ’Hey, can you just make me some baroque string/drill-type beats?’ “,”type”:”text”},{“_id”:”EOALASMLYJD2HAWSZASGB6VUCI”,”additional_properties”:{},”content”:”“And he texted me back, saying, ‘What the hell?’,” Keogh says, chuckling. “Basically, they sampled a lot of existing baroque string-quartet music, made drums and bass for it, and then renotated it. “,”type”:”text”},{“_id”:”LXBO3HEIZREYNARMVUUW3XYWVQ”,”additional_properties”:{},”type”:”image”},{“_id”:”IQEU3CG5CVHY7AKBDF5SRFTTHE”,”additional_properties”:{},”content”:””,”type”:”text”},{“_id”:”NRXQRVTCUJGO5O3VLVQE73RZBY”,”additional_properties”:{},”content”:”“It’s a whole opera written on a laptop, essentially. I think about it very cinematically now, where it ebbs and flows. And it kind of breaks up the narrative – because there’s a lot of narrative to get through.””,”type”:”text”},{“_id”:”MSM4A3NWOJGGZGRYTPVRIVKYEU”,”additional_properties”:{},”content”:”The length and multiple storylines of Middleton’s play have been “chopped and screwed” for +353’s interpretation, which now focuses on three characters: Vindice, Lussurioso and the mother figure, Gratiana. “,”type”:”text”},{“_id”:”LUTOZCJDEZHW3OUL2ROROF3AUU”,”additional_properties”:{},”content”:”The original is set in a 17th-century Italian court; the new version is “in its own world”, with nods to the Jacobean era in terms of costume and set but with contemporary touches such as “the sound of tyres screeching”. “,”type”:”text”},{“_id”:”Y6HGFDARDZAYXGUSVJSEEZ2A5A”,”additional_properties”:{},”content”:”The two lead actors, Alexander Potgieter and Andrew Ajetunmobi, are rappers who had never acted before this production. It has been “a beautiful thing” to watch their journey over the past few years, Keogh says, as well as to offer representation at the national theatre for both black youth and young people in hip-hop. “,”type”:”text”},{“_id”:”TZZF65T6AVA2JDODK2UQBGZ35Q”,”additional_properties”:{},”content”:”He came across Potgieter, who plays Vindice, on social media several years ago and drafted him in at short notice for that first Beyond the Pale performance. “,”type”:”text”},{“_id”:”PPU2AVGQE5EOTPVXEOUY4RJITE”,”additional_properties”:{},”content”:”“We did a development period after that, and I brought in a voice coach and a movement coach,” he says. “Both of their journeys, from having literally never touched any kind of archaic text to what they’re doing in the rehearsal room now, are insane. Yesterday we had an argument about the plague, and I was just, like, ‘This is wild. Like, I found you on Instagram two years ago’.” “,”type”:”text”},{“_id”:”ZAZAFVHETVE4ZMENHLGTIOGUHY”,”additional_properties”:{},”content”:”The opera singer Ellen Kelly, who plays Gratiana, has been similarly explosive. “Classical music and classical arts can be very rigid; there is a tradition there, a training that wants you to adhere to it,” Keogh says. “But she came in and tore up the rule book.””,”type”:”text”},{“_id”:”PSRVMROI2JHALBEODLPBNDAH5E”,”additional_properties”:{},”content”:”Presenting a version of a play that confronts race and musical stereotypes was not a decision Keogh made lightly. In the early days of its development he reached out to Maiya McQueen, an American anthropologist, who later became the show’s producer. “,”type”:”text”},{“_id”:”ZCPCXNUF6ZCGJGMVDY3MCHRKP4″,”additional_properties”:{},”content”:”“At the time that Kevin met me, I was working at the Hiphop Archive & Research Institute over at Harvard,” she says. “He reached out just to have a chat about what he was looking to make, if it was something that could be done ethically – which I really appreciated. He didn’t come and say, ‘I’m going to do this – help!’ He said, ‘Should I do this? Is this out of line? How do I do this the right way?’””,”type”:”text”},{“_id”:”A347V32L2BF6PC3B3O5CZD7XAY”,”additional_properties”:{},”content”:”While other characters have been dropped from the narrative, the inclusion of the mother figure, to represent wider society, was “a very intentional choice”, Kelly says. “You can see, ‘Okay, this isn’t about them as people; this is about a sick society’.””,”type”:”text”},{“_id”:”ZZ4N47DABZHPLOEAOVIDWCBKW4″,”additional_properties”:{},”content”:”According to McQueen, “When you put two black men on stage and have them deliver the language that they will be delivering with this show, we run the risk of people walking away with [their only takeaway being], ‘Oh, that was really disgusting’, or, ‘Drill is really disgusting’ – which is not at all the case that we’re making.”,”type”:”text”},{“_id”:”MSJVRDPFINAXPK2YAJFPTSYC4U”,”additional_properties”:{},”content”:”“I think it challenges the audience to think further than just, ‘I’m seeing two black boys on stage who are saying grotesque things’. It requires a bit more intentional thought.””,”type”:”text”},{“_id”:”MUBZD2YQDBF6FDJIBUTK2REKMM”,”additional_properties”:{},”content”:”She adds: “I think we’re really challenging conversations surrounding storytelling. What is ‘good’ storytelling, what is ‘bad’ storytelling? What makes a Jacobean tragedy better, or more relevant, or more competent than a drill song? So we’re really hoping that people will engage in that conversation really honestly.”,”type”:”text”},{“_id”:”7CDXD7S3DRFEBCBJKAA6VJGNZY”,”additional_properties”:{},”content”:”And The Revenger’s Tragedy is also great fun, she says, grinning. “The music is insane, so there’s no pressure to be up with the language or the text. If people want to come sit and listen to our insanely good orchestra, that’s fine with me. We don’t want people to shy away from coming because the language is big and scary – there’s so much there to be engaged and understood.””,”type”:”text”},{“_id”:”P7CPJKRCU5A3LNXNT2HJGQY6VQ”,”additional_properties”:{},”content”:”“It’s for the Abbey Theatre’s audiences, both current and future,” Keogh says, relishing the thought of presenting a provocative show at Ireland’s national theatre.”,”type”:”text”},{“_id”:”QMKOX2JTIRB4VFTI7MH2CY6H7E”,”additional_properties”:{},”content”:”“The takeaway I want people to have is to think about the next kid they pass on the street wearing a tracksuit who makes rap songs in his bedroom. I love the idea that there is a Jacobean revenge tragedy inside each of their heads, just waiting to be written.”,”type”:”text”},{“_id”:”4NTS7IYAIBG7HJAD3SMZBSBMTU”,”additional_properties”:{},”content”:”“The youth in Ireland are hungry for work that makes them feel but allows them to feel seen and engaged. 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