Archives for the month of: October, 2008

 

Lots of us know Beckett’s famous words from The Unnameable: “I can’t go on. I’ll go on.” This is tragicomic; but it’s also arrived at, accounted for. Whatever else he’s doing, the character that says this is definitely thinking it also. In Deborah Warner’s brilliant production of Beckett’s ‘Happy Days’, the central character, Winnie, played by Fiona Shaw, does as little thinking as possible. Instead we get a more domestic tragicomedy, one that we can recognise more as part of our own everyday happy days. Because the play’s strength is to see that our normal way of life is more like the inverse of Beckett’s famous formula: “I’ll go on! (I can’t go on.)”

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Eighty years after The Gate opened with Henrik Ibsen’s Peer Gynt it celebrates its birthday with a new version of the classic realist drama Hedda Gabler, by Brian Friel.
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Welsh rock band ‘Funeral For A Friend’ have been around for a while but now they’ve launched their own label, ‘Join Us’, and released a new album, ‘Memory and Humanity’. Despite their busy schedule- they are in the middle of a UK tour- Ryan Richards, drummer and backing vocalist, took time out to talk to The Irish Critic. We find out about the new album and their rapid rise to fame.

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Sinead Wallace uses a single source for her front light and I don’t like it. There. I said it- you’ll just have to deal with it. Funnily enough, ‘dealing with it’ is just what Bedrock Producions’ Wedding Day at the Cro-magnons’ is all about.
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Trinity College’s School of Drama, Film and Music in association with the  Ministry of Culture of the Republic of Korea, the Korean Embassy, Dublin, the Ireland Korea Association and Loofen Association,  is currently hosting a visiting production of Samuel Beckett’s ‘Waiting for Godot’ by the  prestigious  Sanwoollim  Theatre from Seoul, South Korea in the Samuel Beckett Theatre this week.

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Delirium is Enda Walsh’s extreme reinterpretation of Dostoevsky’s ‘The Brothers Karamazov’, a hybrid of obscene puppetry, surreal dance, provocative animation and sudden song that envelop the sensibilities of an audience and transport them to a horrorscape of a family dynamic that demands collapse. The overall projection of play is the destruction of that which is too far beyond us to attain- the persual of disinterested lovers, disinterested fathers, and disintegrating spirituality.
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Bedrock Productions is to stage the Irish premiere of Lebanese-born playwright Wajdi Mouawad’s explosive and comic exploration of war-torn life; Wedding Day at the Cro-Magnons’ – you might say it’s a bit of a crazy play.

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“Ireland mustn’t be such a bad place so if the Yanks want to come to Ireland to do their filming”.

Set in 1934, the arrival of a Hollywood director to a nearby island is special news to the community of small rural Inishmaan. Not only more titillating than the reported news of a cat biting a goose’s tail, the promise of outside contact brings a particular sort of hope for Cripple Billy, an unloved boy whose chief form of amusement is gazing at cows to alleviate his endless boredom.

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Forever the Irish Critic’s top film, ‘25th Hour’ is set in New York City- in fact it could be said that it is in and of New York City, the backdrop of its post 9/11 angst acting almost as an additional character as opposed to merely a setting. The plot surrounds ex- drug dealer Montgomery Brogan (played by an ever fantastic Edward Norton), charting his last twenty-four hours of freedom before being sent to prison for seven years.

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Katie Mitchell’s foray into multi-media theatrical performance seems a far call from her meticulous treatments of Chekhov and Ancient Greece. Yet it is such minute attention to detail that lies at the foundation of this production, saturating the theatrical experience as Woolf herself does to the text. The Waves, the inaugural piece of Mitchell’s technophilia premiering at the National Theatre in late 2006, is a particularly apt guinea-pig with a narrative that is notoriously elusive, deliberately discarding linearity in favour of layers. The novel is thus sufficiently malleable to be devised into theatre whilst calling for different media to capture the spirit of the writing.

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