{"id":42422,"date":"2025-09-04T05:43:38","date_gmt":"2025-09-04T05:43:38","guid":{"rendered":"https:\/\/www.europesays.com\/ie\/42422\/"},"modified":"2025-09-04T05:43:38","modified_gmt":"2025-09-04T05:43:38","slug":"i-have-very-bad-eyesight-which-comes-in-really-useful-as-i-cant-see-the-audience-the-irish-times","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/ie\/42422\/","title":{"rendered":"\u2018I have very bad eyesight \u2013 which comes in really useful, as I can\u2019t see the audience\u2019 \u2013 The Irish Times"},"content":{"rendered":"

Dance<\/a>, whether set, step or sean-n\u00f3s, occupies a curious place in the Irish tradition. <\/p>\n

Riverdance<\/a> 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 c\u00e9il\u00ed are a twain that never shall meet. <\/p>\n

At the same time, traditional music has been steadily taking its place alongside other musical art forms \u2013 the ground-breaking recent music created by Lankum<\/a>, Cormac Begley<\/a> and John Francis Flynn<\/a>, among others, will have lured in even more listeners. <\/p>\n

The fiddle player and composer Zo\u00eb Conway<\/a>, 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. <\/p>\n

Conway is constantly pursuing new horizons, infectiously curious about where the music might take her. In 2023 she became an associate artist of the RT\u00c9 Concert Orchestra<\/a>. For her next appearance with them, at the Anam \u00c9ireann \u2013 or The Soul of Ireland \u2013 concert at the Helix in Dublin this month, she is drawing together singer R\u00edoghnach Connolly<\/a>, piper Louise Mulcahy<\/a> and conductor Ellie Slorach for a performance featuring the irrepressible sean-n\u00f3s dancer Edwina Guckian<\/a>. <\/p>\n

Given the solo nature of sean-n\u00f3s dance, opportunities to collaborate can be few and far between. Still, Guckian belongs to a community that\u2019s not short of vim. She and her fellow solo dancers Stephanie Keane, Caitl\u00edn Nic Gabhann and Nic Gareiss have all made sean-n\u00f3s their own. <\/p>\n

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-n\u00f3s dance to a tight set of conventions. <\/p>\n

[\u00a0Jean Butler: \u2018There\u2019s an expression of love that happens when people dance together\u2019Opens in new window<\/a>\u00a0]<\/p>\n

\u201cIf you do anything that\u2019s off from the tradition at all, someone will turn around to you and say that\u2019s not sean-n\u00f3s dancing,\u201d she says. \u201cBut I never said that it was. I might be dancing to The Beatles, but sean-n\u00f3s dancing. <\/p>\n

\u201cAs well as that, most people associate sean-n\u00f3s 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.\u201d<\/p>\n

<\/p>\n

One of the best nights of the year dancing with Zo\u00eb Conway and the RT\u00c9 Concert Orchestra. Easy to dance when you\u2019ve got that powerful music lifting you! Even with a 6 month bump \ud83d\ude06<\/p>\n

This piece of music was composed by Zo\u00eb Conway for myself and the RT\u00c9 Concert Orchestra \ud83e\udd70 it was her first time writing a piece for the full orchestra. Amazing!
\nKeep an eye out for more of Zoe\u2019s upcoming work as part of her residency with the orchestra. <\/p>\n

RT\u00c9 lyric fm #25years<\/p>\n

Posted by \u00c1irc Damhsa Culture Club<\/a> on Monday, May 13, 2024<\/p><\/blockquote>\n

Anam \u00c9ireann will feature music that Conway composed for Guckian after RT\u00c9 Lyric FM<\/a> commissioned her to create a piece for its concert last year to mark the station\u2019s 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. <\/p>\n

\u201cI was so honoured when Lyric FM asked me to compose a piece,\u201d Conway says. \u201cAs 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.<\/p>\n

\u201cI 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-n\u00f3s dance with an orchestra, and how the rhythm of the feet could come through in the orchestration. Edwina\u2019s passion for the tradition is infectious, so once I began composing, the piece wrote itself.<\/p>\n

\u201cThis was actually the first piece I ever composed and orchestrated for full orchestra. I have to thank Bill Whelan<\/a> 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.<\/p>\n

Conway called the piece, which they performed together on the stage of University Concert Hall<\/a>, in Limerick, Bualadh an Cheoil, Bualadh an Chro\u00ed, \u201cwhich means Music Playing, Heart Beating, in honour of Edwina\u201d.<\/p>\n

\"ZoëZo\u00eb Conway and Edwina Guckian perform Bualadh an cheoil, bualadh an chro\u00ed composed by Zo\u00eb at the RT\u00c9 Lyric FM 25th birthday concert. Photograph: Andres Poveda <\/p>\n

Guckian was thrilled. \u201cI couldn\u2019t believe that someone wanted to write a piece of music for me, and that it was Zo\u00eb Conway, and for an orchestra too,\u201d she says. \u201cIt was a real honour. For someone to compose for you, and not only that, but to ask what you like dancing to, was fabulous \u2013 and then having it orchestrated: I never danced to such power.<\/p>\n

\u201cOf course there was volume, but the power of the entire orchestra: I was literally up against the cello \u2013 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. <\/p>\n

\u201cI was seven months pregnant when I danced. David Brophy<\/a> conducted, and it was as if he was dancing beside me too.\u201d <\/p>\n

The dance school that Guckian runs, \u00c1irc Damhsa Culture Club<\/a>, in Leitrim, is built on her philosophy that, with young people, \u201cif you imagine a big bucket of Irish culture \u2013 music, song, dance, folklore, language, customs, community \u2013 you dunk them in it.\u201d 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.<\/p>\n

Guckian\u2019s extraordinary choreography was on show at the National Concert Hall in Dublin recently, for the Irish Traditional Music Archive<\/a>\u2019s 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. <\/p>\n

\"DancerDancer 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 <\/p>\n

\u201cWhen I want to choreograph something to learn off and remember I\u2019ll learn to lilt the tune first, and then I\u2019ll make the whole thing up in my head and practise it over and over in my head and then eventually I\u2019ll let it come out in my feet,\u201d she says.<\/p>\n

\u201cI\u2019d 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.\u201d<\/p>\n

The joy of mining this much-neglected seam of the tradition for new gems is evident in Guckian\u2019s dance.<\/p>\n

\u201cI think it\u2019s lovely for the musicians, too, because they can see their tune coming out in my feet,\u201d she says. \u201cBecause Zo\u00eb and I are working so closely together, even if she stops playing she can hear the tune in my feet.\u201d <\/p>\n

Guckian\u2019s approach to dance is the same whether she\u2019s in her kitchen, at a crossroads or in a concert hall.<\/p>\n

\u201cI have very bad eyesight \u2013 which comes in really useful, because I can\u2019t see the audience and I\u2019m away in my own world,\u201d she says, laughing. \u201cWhether there\u2019s 100 or 1,000 people, it\u2019s still a very personal performance. I tend to just go into my own world with that person who\u2019s playing. <\/p>\n

\u201cI face them and not the audience, and I only focus on them and the music. When they\u2019re relaxed alongside me, it\u2019s lovely.\u201d<\/p>\n

Anam \u00c9ireann: The Soul of Ireland is at the Helix<\/a>, in Dublin, on Thursday, September 11th<\/p>\n

<\/a><\/p>\n

One of the best nights of the year dancing with Zo\u00eb Conway and the RT\u00c9 Concert Orchestra. Easy to dance when you\u2019ve got that powerful music lifting you! Even with a 6 month bump \ud83d\ude06\\n\\nThis piece of music was composed by Zo\u00eb Conway for myself and the RT\u00c9 Concert Orchestra \ud83e\udd70 it was her first time writing a piece for the full orchestra. Amazing! \\nKeep an eye out for more of Zoe\u2019s upcoming work as part of her residency with the orchestra. \\n\\nRT\u00c9 lyric fm #25years<\/p>\n

Posted by \u00c1irc Damhsa Culture Club<\/a> on Monday, May 13, 2024<\/p><\/blockquote>\n

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She and her fellow solo dancers Stephanie Keane, Caitl\u00edn Nic Gabhann and Nic Gareiss have all made sean-n\u00f3s their own. “,”type”:”text”},{“_id”:”BCSUCMXBUVGF3CJ6L6ZRT7IAVU”,”additional_properties”:{},”content”:”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-n\u00f3s dance to a tight set of conventions. “,”type”:”text”},{“_id”:”L4XHW3U2ZZAZPFCQPWRZXOJMLA”,”additional_properties”:{},”content”:”Jean Butler: \u2018There\u2019s an expression of love that happens when people dance together\u2019”,”type”:”interstitial_link”},{“_id”:”D2QQAR2Z3RFQJBH7DKNHBF3GEE”,”additional_properties”:{},”content”:”\u201cIf you do anything that\u2019s off from the tradition at all, someone will turn around to you and say that\u2019s not sean-n\u00f3s dancing,\u201d she says. \u201cBut I never said that it was. I might be dancing to The Beatles, but sean-n\u00f3s dancing. “,”type”:”text”},{“_id”:”HYXTDY3F6VBYDF7C3C4DTCGRTY”,”additional_properties”:{},”content”:”\u201cAs well as that, most people associate sean-n\u00f3s 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.\u201d”,”type”:”text”},{“_id”:”F3YA4XVJ4FFZFOLQKQNB3EGDVM”,”subtype”:”facebook-video”,”type”:”oembed_response”},{“_id”:”TPLZLWEGHNC7PHSXGCVO7YU6UI”,”additional_properties”:{},”content”:”Anam \u00c9ireann will feature music that Conway composed for Guckian after RT\u00c9 Lyric FM<\/a> commissioned her to create a piece for its concert last year to mark the station\u2019s 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”:”\u201cI was so honoured when Lyric FM asked me to compose a piece,\u201d Conway says. \u201cAs 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”:”\u201cI 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-n\u00f3s dance with an orchestra, and how the rhythm of the feet could come through in the orchestration. 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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<\/a>, in Limerick, Bualadh an Cheoil, Bualadh an Chro\u00ed, \u201cwhich means Music Playing, Heart Beating, in honour of Edwina\u201d.”,”type”:”text”},{“_id”:”P6P23ARCKVAA7G3FCMCTHJICOM”,”additional_properties”:{},”type”:”image”},{“_id”:”XWBODXOFZBBBHJK7ILMDOETVP4″,”additional_properties”:{},”content”:”Guckian was thrilled. \u201cI couldn\u2019t believe that someone wanted to write a piece of music for me, and that it was Zo\u00eb Conway, and for an orchestra too,\u201d she says. \u201cIt was a real honour. For someone to compose for you, and not only that, but to ask what you like dancing to, was fabulous \u2013 and then having it orchestrated: I never danced to such power.”,”type”:”text”},{“_id”:”U2ZHQX7CDVGMRLOGYRT3MZGLLE”,”additional_properties”:{},”content”:”\u201cOf course there was volume, but the power of the entire orchestra: I was literally up against the cello \u2013 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”:”\u201cI was seven months pregnant when I danced. David Brophy<\/a> conducted, and it was as if he was dancing beside me too.\u201d “,”type”:”text”},{“_id”:”BMUR2OMWIVHGPGGPMMCDO7IWAQ”,”additional_properties”:{},”content”:”The dance school that Guckian runs, \u00c1irc Damhsa Culture Club<\/a>, in Leitrim, is built on her philosophy that, with young people, \u201cif you imagine a big bucket of Irish culture \u2013 music, song, dance, folklore, language, customs, community \u2013 you dunk them in it.\u201d 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\u2019s extraordinary choreography was on show at the National Concert Hall in Dublin recently, for the Irish Traditional Music Archive<\/a>\u2019s 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”:”\u201cWhen I want to choreograph something to learn off and remember I\u2019ll learn to lilt the tune first, and then I\u2019ll make the whole thing up in my head and practise it over and over in my head and then eventually I\u2019ll let it come out in my feet,\u201d she says.”,”type”:”text”},{“_id”:”FJZ62TSY75BRVNLJNSWYDKFNX4″,”additional_properties”:{},”content”:”\u201cI\u2019d 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.\u201d”,”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\u2019s dance.”,”type”:”text”},{“_id”:”MRP6IEMINVBMXA46Q7CDMZZRIU”,”additional_properties”:{},”content”:”\u201cI think it\u2019s lovely for the musicians, too, because they can see their tune coming out in my feet,\u201d she says. \u201cBecause Zo\u00eb and I are working so closely together, even if she stops playing she can hear the tune in my feet.\u201d “,”type”:”text”},{“_id”:”U7LLND4KYVHPBMXPIXMUZGHC5M”,”additional_properties”:{},”content”:”Guckian\u2019s approach to dance is the same whether she\u2019s in her kitchen, at a crossroads or in a concert hall.”,”type”:”text”},{“_id”:”AMWKWPYLJFBDHH5XFJCT4R2PAA”,”additional_properties”:{},”content”:”\u201cI have very bad eyesight \u2013 which comes in really useful, because I can\u2019t see the audience and I\u2019m away in my own world,\u201d she says, laughing. \u201cWhether there\u2019s 100 or 1,000 people, it\u2019s still a very personal performance. I tend to just go into my own world with that person who\u2019s playing. “,”type”:”text”},{“_id”:”CZTZYOCNU5A3PFI4DUMDFI3GSM”,”additional_properties”:{},”content”:”\u201cI face them and not the audience, and I only focus on them and the music. When they\u2019re relaxed alongside me, it\u2019s lovely.\u201d”,”type”:”text”},{“_id”:”FJKEWAYT4NBA7OFNDWBOGURRNI”,”additional_properties”:{},”content”:”Anam \u00c9ireann: The Soul of Ireland is at the Helix<\/a>, in Dublin, on Thursday, September 11th”,”type”:”text”}],”content_restrictions”:{“content_code”:”premium”},”credits”:{“by”:[{“additional_properties”:{“original”:{“byline”:”Siobh\u00e1n Long”}},”name”:”Siobh\u00e1n Long”}]},”description”:{“basic”:”Edwina Guckian was thrilled when Zo\u00eb Conway composed a piece for her. They\u2019re about to perform it with the RT\u00c9 Concert Orchestra in Dublin”},”display_date”:”2025-09-03T04:03:00Z”,”headlines”:{“basic”:”Sean-n\u00f3s dancer Edwina Guckian: \u2018I have very bad eyesight \u2013 which comes in really useful, as I can\u2019t see the audience\u2019”,”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<\/a>.”,”type”:”text”},{“_id”:”RROLMRLW2JC7HBXF2SE7IKX4CM”,”additional_properties”:{},”content”:”\u201cI made such a fantastic discovery about that piece,\u201d she says. \u201cI 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\u2019t that incredible?\u201d”,”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<\/a>, is on its way to Ireland for the first time, for a series of performances by Opera Collective Ireland<\/a>.”,”type”:”text”},{“_id”:”NUFSZ5C4JVB25MJ6D3D5LSGRIM”,”additional_properties”:{},”content”:”Opera \u201cis, for me personally, one of the most natural forms to work in\u201d, she says. \u201cAnd it comes from childhood, you know, the idea of dressing up, with music, words, playing. I\u2019ve had the opportunity to write over 20. I\u2019m now on my 23rd. They\u2019ve 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”:”\u201cBut any opportunity I have to write for the stage I take it. Because there\u2019s so much to learn, not just from the performers, but also the teams you work with, the directors, the librettists, the dramaturge. I\u2019m very drawn to the form.\u201d”,”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\u2019s L\u2019Orfeo of 1607, the earliest opera to be an undisputed masterpiece. She calls it a \u201cmore stripped-away version of opera\u201d, but \u201cone that stayed with me\u201d.”,”type”:”text”},{“_id”:”I5A3KFYT7FBDNE7U2QR5KNEMFY”,”additional_properties”:{},”content”:”But even before that, she explains, she had been inspired at home \u2013 by placemats, of all things. \u201cIn fact,\u201d she says, \u201cI 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”:”\u201cI would have sat looking at these stagings \u2013 you know, sets and scenes \u2013 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\u2019s really nice that I now work in the form.\u201d”,”type”:”text”},{“_id”:”RGZCIER55ZDSHIULAHTLRAI4XM”,”additional_properties”:{},”content”:”A lot of composers she speaks to struggle with opera, Wallen says \u2013 \u201cthe fact that you can\u2019t hear the words, the fact that sometimes the voices sound … maybe overblown, and the plot\u2019s a bit ridiculous. But once you\u2019re working in the form yourself you start to understand more deeply why certain things are the way they are\u201d.”,”type”:”text”},{“_id”:”YOYJUB5Y4ZFITCIFT36TEBYB7M”,”additional_properties”:{},”content”:”Her favourites, she says, are possibly Puccini\u2019s Tosca and Britten\u2019s Peter Grimes. \u201cAnd, in a funny sort of way, they\u2019re linked, with the orchestra so powerful in setting the scene alongside the story and the singers \u2013 that idea of being able to achieve an integrated whole where every element in the score is almost complete.\u201d”,”type”:”text”},{“_id”:”YOMTKV7SP5AOTL7NT6WKKQKLPY”,”additional_properties”:{},”content”:”Wallen recalls a semi-staged Peter Grimes<\/a> at the Royal Festival Hall in London with the Bergen Philharmonic Orchestra under Edward Gardner. \u201cThat 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”:”\u201cIt 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\u2019s all there in the music; it tells you what to do. We almost didn\u2019t need a set. It is the atmosphere.”,”type”:”text”},{“_id”:”ZXCN7QQ2MRFCVJFJHK3LJXZJL4″,”additional_properties”:{},”content”:”\u201cOpera 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.\u201d”,”type”:”text”},{“_id”:”NXZWO5BSGFGYPLCHKR6JCTINLE”,”additional_properties”:{},”content”:”Wallen suggests that, in opera, \u201ccomposers 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\u201d.”,”type”:”text”},{“_id”:”ING6ZVL4XJFJJDZBPD55S4YXNU”,”additional_properties”:{},”content”:”\u201cI 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\u2019re dealing with. But with opera, more than anything, everything has to work in that score. That\u2019s the fun part of it.\u201d”,”type”:”text”},{“_id”:”OQNXYIV2QRDB7A4EZCSDGTS7IM”,”additional_properties”:{},”content”:”The score, Wallen says, \u201chas many answers. That\u2019s 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\u201d.”,”type”:”text”},{“_id”:”A77BDVXF6BGQHNWKOLFSWGDLPY”,”additional_properties”:{},”content”:”She composed Cautionary Tales because the English company Opera North<\/a>, which is based in Leeds, \u201cwanted 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\u2019t tell you why exactly \u2013 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. \u201cPia Furtado, who was directing it, adapted some of it, so, though we\u2019re using the words of Hilaire Belloc, scenes are framed with extra text.\u201d”,”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”:”\u201cMy 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\u2019s funeral. And then, while I was there, I had to slightly adjust some percussion parts. So it\u2019s funny: it\u2019s such a joyous opera, but also in the background was this rather sad story. “,”type”:”text”},{“_id”:”PRYNN5Y3LNHTJGTIGDEIWHSLYM”,”additional_properties”:{},”content”:”\u201cBut I really enjoyed working on it. It\u2019s 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\u2019t know why that is. It just occurred to me and it seems to work.\u201d”,”type”:”text”},{“_id”:”LKXXHM7I5FHU3MJKPKAVIEGKPA”,”additional_properties”:{},”content”:”One reviewer pointed out that it was an opera without much tenderness. \u201cThe fact is these are brutal, brutal poems, aren\u2019t they?\u201d Wallen says. \u201cEvery child is a neglected child, with parents that don\u2019t 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”:”\u201cI 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\u2019re wonderful.\u201d”,”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\u2019s 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 \u201can out-of-body experience. But I always carry my inner child with me. She\u2019s very precious to me, because that\u2019s the little girl that just dreamed things that nobody around me was dreaming and they didn\u2019t understand what I was saying\u201d.”,”type”:”text”},{“_id”:”3ZSW3NNAJVHDHPTETQNLQWCT7U”,”additional_properties”:{},”content”:”\u201cI didn\u2019t understand it then. But I am living the life of that seven-year-old. I was dreaming of these things and of sounds,\u201d Wallen says. \u201cIt\u2019s 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.\u201d”,”type”:”text”},{“_id”:”UKD7RND5TVGBLP3VVHFEHOULS4″,”additional_properties”:{},”content”:”Errollyn Wallen\u2019s Cautionary Tales, staged by Opera Collective Ireland<\/a>, 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 T\u00e1in Arts Centre, in Dundalk, Co Louth (Sunday, September 21st). Wallen\u2019s new short piece Flourish gets its Irish premiere from the Chineke! Orchestra at the National Concert Hall<\/a>, 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: \u2018I always carry my inner child with me. She\u2019s very precious\u2019”,”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<\/a> is about to be unleashed on the city, with more than a fortnight of shows. It\u2019s a great opportunity to sample the huge range of theatre, comedy, spoken word, dance, music, storytelling, circus, cabaret and more being made in Ireland \u2013 plus some international treats too. “,”type”:”text”},{“_id”:”EYXFIQYJBFA4BM3C5PEYSVX5NY”,”additional_properties”:{},”content”:”Bee Sparks, in her first outing as the festival\u2019s director \u2013 she was formerly its programmer \u2013 promises \u201cjoy, community, brazen truths and blazing dance floors\u201d for the fringe\u2019s 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\u2019s 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\u2019s Shed members and the writer Colm Keegan explore mental health and masculinity. CoisC\u00e9im 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<\/a>“,”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 \u2026 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<\/a>“,”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 \u201cblack, Irish, queer culchie\u201d. 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<\/a>“,”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\u2019s musical story, a cabaret of personal narrative.”,”type”:”text”},{“_id”:”LCUAAVBNJZHI5FJXALXT2NJX64″,”additional_properties”:{},”content”:”Pea Dinneen: \u2018Raising Her Voice was born out of frustration at seeing myself reflected nowhere in the Irish theatrical canon\u2019”,”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\u2019s The Shape of Quiet Feelings<\/b><\/a> (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\u2019 Pick\u2019n\u2019Mix!<\/b><\/a> (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<\/a>“,”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<\/a>“,”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 Ois\u00edn 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<\/a>“,”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\u2019s new dance-theatre work, a visceral reimagining of Mary Shelley\u2019s 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<\/a>“,”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<\/a>“,”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<\/a>“,”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 \u201cmessify transitions, testosterone and the edges of drag\u201d in this solo show combining costume, dance, lip-syncing and avant-garde theatre. “,”type”:”text”},{“_id”:”KENSFAI2R5FBLEGHWSRORHDM4U”,”additional_properties”:{},”content”:”Train Man<\/a>“,”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\u2019s Tragedy<\/a>“,”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 \u201cchopped and screwed reimagining\u201d of Thomas Middleton\u2019s 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!<\/a>“,”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\u2019s Cian Kinsella, fresh from touring with Thisispopbaby\u2019s Riot, tackles climate and masculinity with laughter in a solo show described as \u201ca violently stupid and stupidly violent deep dive into fragile egos, environmental collapse and the absurdity of existence\u201d. “,”type”:”text”},{“_id”:”3PHU7RC74ZA4PO2WUSI6VRBW5M”,”additional_properties”:{},”content”:”Se\u00f3n Simpson\u2019s on a Tangent<\/a>“,”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? Se\u00f3n 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<\/a>“,”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\u2019s 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?<\/a>“,”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<\/a>“,”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\u2019s 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<\/a>“,”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<\/a>“,”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: \u2018I\u2019m treated more like a human being now I\u2019ve lost weight\u2019”,”type”:”interstitial_link”},{“_id”:”NR6CKCD3DFCIJKQPLRAUKZX2E4″,”additional_properties”:{},”content”:”Last Gig Ever!<\/a>“,”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<\/a>“,”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 Cro\u00ed Glan angles a hopeful lens on climate change while exploring disability, environment and immigration. 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We\u2019ve been here before \u2013 but a new production premiering at Dublin Fringe Festival<\/a> 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\u2019s Tragedy, at the Abbey Theatre<\/a>, 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\u2019s 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<\/a> of Thisispopbaby<\/a>, 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”:”\u201cI was doing a lot of work with rave and techno music and making theatre in that space \u2013 which is how I linked up with Thisispopbaby to begin with,\u201d he says. \u201cI 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”:”\u201cBut they actually didn\u2019t even blink, fair play to them. And that was kind of the genesis of it all. I felt, like, \u2018Okay, there\u2019s something to be unpicked here\u2019.\u201d”,”type”:”text”},{“_id”:”RIN6OAOLPRH3XFW7SHNIGHZJXM”,”additional_properties”:{},”content”:”Keogh was especially interested in how the themes of The Revenger\u2019s Tragedy \u2013 toxic masculinity, greed, vengeance, a lust for power and a lot of (literal) backstabbing and double-crossing \u2013 correlated to modern-day drill music, the subgenre of hip-hop known for its ultraviolent lyrics.”,”type”:”text”},{“_id”:”67F7VHPB6VCPDHHPDX7CJ64QY4″,”additional_properties”:{},”content”:”\u201cOriginally I thought of it as this off-the-cuff idea, because I was reading some Jacobean text and I thought, \u2018You know what? This reads like a rap album\u2019,\u201d the Dublin theatremaker says. \u201cAnd then around 2020, when the whole drill movement started happening in Ireland, I thought, \u2018This is so theatrical: it\u2019s these kids in masks saying this really gruesome stuff\u2019.”,”type”:”text”},{“_id”:”E5HDOQJPANAIXGHON5VYF2RMRI”,”additional_properties”:{},”content”:”\u201cBut 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\u2019re saying.”,”type”:”text”},{“_id”:”LDAHTBSV6ZCYRB4OHEI5CO755E”,”additional_properties”:{},”content”:”\u201cAnd that\u2019s kind of the same for The Revenger\u2019s Tragedy. There\u2019s no real \u2018good guy\u2019 in the story; it\u2019s this idea of deep, deep corruption, and the characters themselves are so flawed.”,”type”:”text”},{“_id”:”NZFYJGBIHJCP3EZG45QIK3URGA”,”additional_properties”:{},”content”:”\u201cBut 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 \u2013 [drill artists] writing from that same exact place: no care for what they\u2019re saying, or how it sounds, or how it comes across, just \u2018This is how frustrated I am\u2019.\u201d”,”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. \u201cWhen I brought it to Beyond the Pale I was, like, \u2018Cool, a music festival: I\u2019ll do something music-orientated\u2019. I texted my friend, saying, \u2019Hey, can you just make me some baroque string\/drill-type beats?\u2019 “,”type”:”text”},{“_id”:”EOALASMLYJD2HAWSZASGB6VUCI”,”additional_properties”:{},”content”:”\u201cAnd he texted me back, saying, \u2018What the hell?\u2019,\u201d Keogh says, chuckling. \u201cBasically, 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”:”\u201cIt\u2019s 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 \u2013 because there\u2019s a lot of narrative to get through.\u201d”,”type”:”text”},{“_id”:”MSM4A3NWOJGGZGRYTPVRIVKYEU”,”additional_properties”:{},”content”:”The length and multiple storylines of Middleton\u2019s play have been \u201cchopped and screwed\u201d for +353\u2019s 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 \u201cin its own world\u201d, with nods to the Jacobean era in terms of costume and set but with contemporary touches such as \u201cthe sound of tyres screeching\u201d. “,”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 \u201ca beautiful thing\u201d 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”:”\u201cWe did a development period after that, and I brought in a voice coach and a movement coach,\u201d he says. \u201cBoth of their journeys, from having literally never touched any kind of archaic text to what they\u2019re doing in the rehearsal room now, are insane. Yesterday we had an argument about the plague, and I was just, like, \u2018This is wild. Like, I found you on Instagram two years ago\u2019.\u201d “,”type”:”text”},{“_id”:”ZAZAFVHETVE4ZMENHLGTIOGUHY”,”additional_properties”:{},”content”:”The opera singer Ellen Kelly, who plays Gratiana, has been similarly explosive. \u201cClassical music and classical arts can be very rigid; there is a tradition there, a training that wants you to adhere to it,\u201d Keogh says. \u201cBut she came in and tore up the rule book.\u201d”,”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\u2019s producer. “,”type”:”text”},{“_id”:”ZCPCXNUF6ZCGJGMVDY3MCHRKP4″,”additional_properties”:{},”content”:”\u201cAt the time that Kevin met me, I was working at the Hiphop Archive & Research Institute<\/a> over at Harvard,\u201d she says. \u201cHe reached out just to have a chat about what he was looking to make, if it was something that could be done ethically \u2013 which I really appreciated. He didn\u2019t come and say, \u2018I\u2019m going to do this \u2013 help!\u2019 He said, \u2018Should I do this? Is this out of line? How do I do this the right way?\u2019\u201d”,”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 \u201ca very intentional choice\u201d, Kelly says. \u201cYou can see, \u2018Okay, this isn\u2019t about them as people; this is about a sick society\u2019.\u201d”,”type”:”text”},{“_id”:”ZZ4N47DABZHPLOEAOVIDWCBKW4″,”additional_properties”:{},”content”:”According to McQueen, \u201cWhen 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], \u2018Oh, that was really disgusting\u2019, or, \u2018Drill is really disgusting\u2019 \u2013 which is not at all the case that we\u2019re making.”,”type”:”text”},{“_id”:”MSJVRDPFINAXPK2YAJFPTSYC4U”,”additional_properties”:{},”content”:”\u201cI think it challenges the audience to think further than just, \u2018I\u2019m seeing two black boys on stage who are saying grotesque things\u2019. It requires a bit more intentional thought.\u201d”,”type”:”text”},{“_id”:”MUBZD2YQDBF6FDJIBUTK2REKMM”,”additional_properties”:{},”content”:”She adds: \u201cI think we\u2019re really challenging conversations surrounding storytelling. What is \u2018good\u2019 storytelling, what is \u2018bad\u2019 storytelling? What makes a Jacobean tragedy better, or more relevant, or more competent than a drill song? So we\u2019re really hoping that people will engage in that conversation really honestly.”,”type”:”text”},{“_id”:”7CDXD7S3DRFEBCBJKAA6VJGNZY”,”additional_properties”:{},”content”:”And The Revenger\u2019s Tragedy is also great fun, she says, grinning. \u201cThe music is insane, so there\u2019s 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\u2019s fine with me. We don\u2019t want people to shy away from coming because the language is big and scary \u2013 there\u2019s so much there to be engaged and understood.\u201d”,”type”:”text”},{“_id”:”P7CPJKRCU5A3LNXNT2HJGQY6VQ”,”additional_properties”:{},”content”:”\u201cIt\u2019s for the Abbey Theatre\u2019s audiences, both current and future,\u201d Keogh says, relishing the thought of presenting a provocative show at Ireland\u2019s national theatre.”,”type”:”text”},{“_id”:”QMKOX2JTIRB4VFTI7MH2CY6H7E”,”additional_properties”:{},”content”:”\u201cThe 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”:”\u201cThe youth in Ireland are hungry for work that makes them feel but allows them to feel seen and engaged. And I think this is really doing that.\u201d”,”type”:”text”},{“_id”:”FJU5LR5KORBD7JRPZRL6LCSOJQ”,”additional_properties”:{},”content”:”+353 Presents: The Revenger\u2019s Tragedy is on the Peacock stage of the Abbey Theatre, as part of Dublin Fringe Festival<\/a>, from Wednesday, September 10th, to Saturday, September 13th”,”type”:”text”}],”content_restrictions”:{“content_code”:”premium”},”credits”:{“by”:[{“additional_properties”:{“original”:{“byline”:”Lauren Murphy”}},”name”:”Lauren Murphy”}]},”description”:{“basic”:”Dublin Fringe Festival 2025: +353 Presents: The Revenger\u2019s Tragedy gives a drill update to a restored classic of Jacobean theatre”},”display_date”:”2025-08-30T04:10:00Z”,”headlines”:{“basic”:”The Revenger\u2019s Tragedy: \u2018I love the idea that there\u2019s a Jacobean revenge tragedy inside each bedroom rapper\u2019s head\u2019”,”native”:””},”label”:{“audio_project_id”:{“text”:”8948″}},”promo_items”:{“basic”:{“_id”:”XCCWWMKARRH3LEALCBZXL3X53Y”,”auth”:{“1″:”f55b2b01c22ffdd4c2a32fab04ea7add82168749c1fbbe09681d861ef56938d5″},”focal_point”:{“x”:1680,”y”:1664},”type”:”image”,”url”:”https:\/\/cloudfront-eu-central-1.images.arcpublishing.com\/irishtimes\/XCCWWMKARRH3LEALCBZXL3X53Y.jpg”}},”subtype”:”feature”,”taxonomy”:{“sections”:[{“name”:”Stage”},{“name”:”Culture”}]},”type”:”story”,”website_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\/”,”websites”:{“irishtimes”:{“website_section”:{“_id”:”\/culture\/stage”,”additional_properties”:{“original”:{}},”name”:”Stage”}}}},{“_id”:”TXAL33PC5BBWTLAO4AKJSCTKOY”,”additional_properties”:{“audio_duration”:208,”audio_url”:”https:\/\/cdn.beyondwords.io\/audio\/projects\/8948\/podcasts\/498c0a3a-b076-4714-b18c-34760925ccd7\/versions\/1755700706\/media\/b186c3f3e5ea1be6920f2aaecdf3de1d_compiled.mp3″},”canonical_url”:”https:\/\/www.irishtimes.com\/culture\/stage\/review\/2025\/08\/20\/the-girl-on-the-train-review-laura-whitmore-dominates-the-stage-in-this-enthralling-paula-hawkins-adaptation\/”,”content_elements”:[{“_id”:”T7DGOZSI4VBU7EERWQ43ZE7UTE”,”additional_properties”:{},”content”:”The Girl on the Train”,”type”:”header”},{“_id”:”B355YIK76VGEBA4VTB2YPX7E7A”,”additional_properties”:{},”content”:”Everyman, Cork”,”type”:”header”},{“_id”:”IW336VKKAFEOTCU6V65Q6PK624″,”additional_properties”:{},”content”:”\u2605\u2605\u2605\u2605\u2605”,”type”:”header”},{“_id”:”V4WAYK7HSJAQ5GJL2D7MZYLQUI”,”additional_properties”:{},”content”:”The episodic structure of this stage retelling of Paula Hawkins\u2019s bestselling novel is a challenge overcome by a brightly sustained performance from Laura Whitmore as the eponymous girl on the train. Challenge is not a casual word: her role as Rachel Watson keeps her on stage and dominant in almost every scene. “,”type”:”text”},{“_id”:”IICUNUHLXFHJLD6J4KWIKV4MXI”,”additional_properties”:{},”content”:”Movement is the theme throughout as Rachel Wagstaff and Duncan Abel, the play\u2019s writers, re-create the atmosphere of railways and station platforms and huddled, hurried passengers that Hawkins evoked in her book. There is never a moment, it seems, in which something is not happening; there is no sense that the train doesn\u2019t stop here any more.”,”type”:”text”},{“_id”:”MAA4U3CCT5FF3DUQ6Z2EVW5ZAE”,”additional_properties”:{},”content”:”Certainly not Rachel Watson\u2019s train, from which she watches, like a wistful voyeur, the lives of others. A soul close to being lost, she ostensibly makes her journeys as a commuter, but as the narrative develops it is suggested that she is not a traveller but a spy, seeking out evidence of other lives in order to verify her own.”,”type”:”text”},{“_id”:”NJO4MSNTTNDGFH77PKBQYVF4RA”,”additional_properties”:{},”content”:”In her currently chaotic existence she seeks certainties to confirm her observations of events fleeting past her window seat. But what she sees are the backs of houses, not the facades of places she knows, or thinks she knows, and not the inner lives of the people who live there. And anyway, Rachel asks all the wrong questions even as she herself is interrogated.”,”type”:”text”},{“_id”:”Y25CRSSFHBA4XA34KMC67IX4FU”,”additional_properties”:{},”content”:”In this Melting Pot<\/a> production, as in Hawkins\u2019s novel, there is an underlay of irony, allowing glimpses of humour for an enthralled audience. From the start, Loveday Ingram\u2019s direction offers subtle plot indications, such as the abandon with which Rachel uncorks a bottle and then shoves it into its pillowed hiding place; the flourish with which she repeatedly drapes herself in a coat as challenging as a chevalier\u2019s cloak; the gilded seconds in which a suspicious kiss is framed as if recalling FW Burton\u2019s painting The Meeting on the Turret Stairs; and, above all, the monologue by Freya Parks as Megan, one of the most memorable moments in a play that essentially is about memory.”,”type”:”text”},{“_id”:”HVZ2UAMBSZFC5JPLCMPXS5DY3Y”,”additional_properties”:{},”content”:”As in any decent thriller \u2013 and this is certainly one of those \u2013 the core of the plot is truth. You can add to this the issues of personal responsibility, fidelity, interpretation and besotted, despairing conviction. There is also institutional doubt, expressed by Paul McEwan\u2019s detective, a dogged inspector who calls rather too often.”,”type”:”text”},{“_id”:”FBWHFW7Q4RHANPCNYU7LWD62AY”,”additional_properties”:{},”content”:”The composition of set design by Adam Wiltshire, sound by Elizabeth Purnell and video design by Dan Light succeeds in establishing the acceleration of confliction, generating an energy in which Rachel herself is energetically adrift.”,”type”:”text”},{“_id”:”G5UTURIRTZEGFCL34LQC3PFLYY”,”additional_properties”:{},”content”:”One caveat: light script editing might eliminate the repeated assurances of the strong cast that they have something to tell one another. And another: Whitmore\u2019s voice initially seems too frail, almost adolescent, to carry the weight of Rachel\u2019s experiences. 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