‘Tis a play about a film about a play and daring does not even begin to cover it.

‘The Making of ‘Tis Pity She’s a Whore’ takes technology, adds some classic theatre and mixes. The result is astounding.

Selina Cartnell’s interpretation of the controversial play ‘Tis Pity She’s a Whore’ is unlike anything I’ve ever witnessed before. It takes the horrific, darkly comical tale of siblings Giovanni and Annabella and their incestuous relationship and uses it as scenes being filmed for a movie. As filming rolls on, the lines between reality and fiction begin to dissolve for the movie’s leading man as forbidden love and obsession start to take over.

Despite being written in the 1600’s the story still retains the shock factor it always did and updates perfectly within the imaginative settings.

The show combines an intriguing mix of on-stage acting, music and choreography and filmed sequences, giving the impression of footage of their movie that is already complete.

Kate Shanley Brennan in 'Tis Pity She's a Whore

‘The Making of ‘Tis Pity She’s a Whore’ contains a stellar cast, featuring many well-known faces, but it is Louis Lovett that grasps the audience’s attention the most with an astoundingly convincing performance as the passionate, darkly possessed lead.

While imaginative and intriguing, it is not for the faint hearted. But for those brave enough to face a glamorous world destroyed by lust and violence, the ‘The Making of ‘Tis Pity She’s a Whore’ is a exceptional piece of theatre, that will stay with you long after the lights go down.

Curated by Tessa Giblin and Sally O’Reilly

“Oh come on Simon, he’s made some good projects. Remember the hedge fund he did at the ICA managed by monkeys? He earned two million pounds! Didn’t even have to pay the monkeys!…”

At the start of 2011 a group of artists, writers and comedians collaboration on The Last of the Red Wine, a radio sitcom about the world of the arts.

Now, The Last of the Red Wine (The Prequel/Sequel) takes a humorous look at the crew involved in the original project and looks at the clichés and stereotypes of the arts world and all those involved in it. This is told through collections of audio, video, photographs and an impressive satirical installation.

Opening Night at The Last of the Red Wine (The Prequel/Sequel)

Slick, entertaining and good for a giggle, The Last of the Red Wine (Prequel/Sequel) runs until January 14^th, 2012.

Admission is free.

The installation at The Last of the Red Wine (The Prequel/Sequel)

It is noon on August 15^th, 1998, and on Lower Market Street, the lives of Lizzy, Mari and Conor are about to change forever.

Minute After Midday is a haunting production, reliving the memories of three very different people as the Omagh bombings brought their lives crashing together.

Originally created as a radio play, Ross Duggan’s script translates to the stage in the form of a series of emotional monologues. It is the fictionalized account of events that day, as told from a young girl, who survived the blast, a woman that lost her husband, and a young man responsible for planting the bomb.

Lizzy is an innocent young girl, with little more on her mind that day than a denim jacket in a shop window that she dreams of getting from her birthday. Mari tells the story of her life with her husband; from the night they met to the last time she saw him. Conor is portrayed without real prejudice against him. He is not shown as a monster, yet he is in no way pitied. It is for the audience to decide their verdict of him.

Despite being based on true horrifying events, Minute After Midday doesn’t dwell on the political reasoning behind it, courts or media coverage. It instead concentrates on how the Omagh bombings affected the family and friends of those killed, and the heartbreaking aftermath that they had to live with.

Told superbly by the talent young cast, and carefully directed with sentiment and understanding by Emily Reilly, Minute After Midday is heart-wrenching retelling of one of the biggest atrocities in Irish history.

CoisCéim Dance Theatre

Project Arts Centre, November 9-19

In 1997, CoisCéim produced Reel Luck, a dance performance looking at an Ireland hitting the tip of The Celtic Tiger. Now, over a decade later, they are telling the tale of a very different place.

The production opened on a run-down room in a derelict building, a spectacular set created by Monica Frawley. A table, chairs and an old washing machine were amongst the few objects sparsely filling the space. Flaking shades of cream and grey filtered through the dramatic lighting, setting the dark, tense scene.

The performance asked two questions: “What makes you sad?” and “what makes you happy?” The answers were collected from real interviews, and the responses share the pain and frustration people have experienced since the economic down turn.

Performers Jen Fleenor and Nick McGough

Saxophonist Kenneth Edge, also the composer of Touch Me, joined the performers, Jen Fleenor, Olwen Grindley, James Hosty, Robert Jackson, Nick McGough and Emma O’Kane on stage. The dancers glided their way through a genre-defying collection of music, fusing jazz, rock and even an ode to classic Irish tunes.

Bravely choreographed, the piece took the audience from swaying along to gasping at the extraordinary fearless moments. The music and interview segments are interjected by bites of past speeches and photos displaying the journey Ireland has come through. Director and choreographer David Bolger has interpreted these in the most magnificent and startling way possible.

'Touch Me' at The Project Arts Centre

It is not all doom and gloom however. The “what makes you happy?” question leads the production to a more positive note, highlighting the small pleasures that we can find, no matter what direction society is heading.

Dance theatre fans will not be disappointed by CoisCéim’s latest offering. Touch Me is a beautiful creation and mingling modern Irish life effortlessly with creativity and innovation it is known for.

Touch Me runs until November 19^th.

Dear Cathy,

It’s 10.30pm on Tuesday night. I have just finished your recent email. You are now on the way to recovery. You are here now as you should have been and will be until the day you die. So whilst I struggle slowly onward and upward, you are already there.

Love Deborah

Úna McKevitt’s The Big Deal tells the tale a friendship forged by the extraordinary physical and emotional journeys taken by two women.

It tells the story of Cathy and Deborah, born as males (Patrick and Sean) that grew up, got married and lived half their lives before admitting they had known all along that they were born in the wrong bodies.

The play follows the friends as they undergo gender reassignment surgery, drawing on past memories, conversations and letters exchanged between them. The stories are based on the true experiences and the roles of Cathy and Deborah are performed powerfully by Úna Kavanagh and Shani Williams.

The details of the surgery and the aftermath are graphic, not for the faint-hearted yet totally enthralling, so much so that the audience can almost feel the pain too. These tales are mixed with recollections of the characters’ childhood, and pop music interludes.

The Big Deal is a potent portrayal of lives rarely heard of in Irish society and told with sincerity, frankness and charm. It isn’t guilty of sympathising too much with the characters either, holding on the gritty reality. Deborah tells the audience “as Sean, as a husband and as a father, I was a total bastard.”

Una McKevitt tackles the topic perfectly. She conveys the heartfelt struggle of the characters; we feel the pain of judgment, inequality and unrequited love. We see the sacrifices made in order for these two women to feel like people they were supposed to be.

This is no run-of-the-mill tale of love or tragedy; real lives, real stories, told on stage in the most fantastic way.

It is indeed a big deal.

The Big Deal at Project Arts Centre from projectarts on Vimeo.

Audience members at the opening night of The Big Deal

Project Arts Centre, October 26^th

WoWos are a jazzy New-York based sextet, led by Irish drummer Seán Carpio. Referred to by The Irish Times as “the finest drummer ever produced here’, Carpio is the ringleader of this band of talented young musicians, featuring Joachim Badenhorst  (tenor saxophone), Ed Rosenberg (tenor saxophone), Simon Jermyn (guitar), Mikkel Ploug (guitar) and Jeppe Skovbakke (bass).

Different personalities and nationalities fuse for a truly unique night of music, creatively fusing jazz with rock. Emotive, beautiful melodies flow into each other, and the musicians on stage genuinely look enthralled by the music, spark off one another and seem to enjoy it as much as the audience.

 Seán Carpio is especially engaging on stage. Caught up in each tap of the drums, he at times seems oblivious to the crowd in front of him, and is mesmerising to watch.

Songs vary from dark and atmospheric to toe-tapping catchiness. The audience swayed and smiled along to each of the newly composed pieces, standing for a deserved ovation at the end of the show. Sean Carpio and Co. gave us a thoroughly enjoyable show, satisfying any kind of music fan.

Don’t say you don’t like Jazz; you haven’t seen WoWos yet.

All photographs by Catherine Dennehy

19 – 22 OCT 2011

An ex-lawyer talking about Ireland’s financial crisis – Doesn’t exactly sound like the recipe for a night of laughs does it?

Don’t be fooled; Cork funnyman Keith Farnan is anything but dull. His newest show Money Money Money, wanders hilariously through Ireland’s economy, discussing his ideas to repay our  €85,000,000,00 worth of debt, as well as attracting the occasional confused Abba fan.

Farnan is warm and upbeat from the very beginning, high-fiving all of the audience and involving them throughout the show. He mixes personal stories, with facts and statistics and isn’t afraid to tackle serious issues or open the door on his own experiences.

He has a delightful ability to find gems in topics that would make most people feel uncomfortable. Whilst talking about terrorism, the audience is informed about Ryanair’s compensation for hi-jacking. He compares Bertie Ahern’s financial advice for Nigeria to Joseph Fritzel being asked about childcare.

Farnan outlines his out ‘foolproof’ plan to save Ireland and let’s be honest; there have been crazier ideas than putting Jedward in charge of the country. There could be method in his madness.

Clever, thought provoking and at times bizarre, Keith Farnan mixes his Irish charm with a generous bite of satire. One of the most exciting comedic talents in Ireland.