'Taking Back our Voices' - Important Theatre

Today I attended a play reading at the Abbey Theatre called ‘Taking Back our Voices’, exploring the profession of prostitution in Ireland today. I say play ‘reading’, which would usually suggest a bunch of actors sitting on stools, facing the audience, and delivering lines with their scripts in hand. Today however, I did not witness this at all, but rather a dynamic and emotionally truthful performance that I don’t think I will ever forget.

Before I go any further, I would like to explain why I am writing this response in the first place. I am deliberately calling it a ‘response’, rather then ‘review’ because this definitely is not a review. I will not be trying to use flowery language or make myself sound more intelligent then I actually am. I will not be analyzing aspects of production that I found effective. Instead, I will just be describing my own honest,emotional reaction to this afternoon, which I can safely say was the most powerful piece of theatre I have seen upon the Abbey stage. I am not writing this response because someone has told me to or because I am bored and feel like doing something productive. I am writing this because ever since I walked out of the national theatre today, I have felt a real urge and compulsion to try and articulate my reaction to this piece of theatre, and the important subject matter of prostitution in Ireland. While it left me leaving like I wanted to change the country, I cannot do that, and so I have decided to write instead.

On stage were 5 performers; four professional actors and one ex-prostitute. In order to make this piece, the actors (Úna Kavanagh, Caitríona  Ní Mhurchú, Sorcha Kenny and Niamh Shaw), along with director Oonagh Murphy, have been in conversation with prostitutes and ex-prostitutes for the last few months, gaining a deeper insight into a lifestyle that one of the actors admitted during the post show discussion, 'we think we know a lot about when we really don't have an iota of an idea' . 

The ensemble only began rehearsals for ‘Taking Back our Voices’ last Monday, which is an incredible achievement when you actually see the high standard of theatre that was produced in such s short space of time. Saying that, it is not particularly important whether the standard of theatre was high enough or not. That was not the point. While each of the performances were exceptional, the whole point of this piece was to give a voice to the women in the profession of prostitution in Ireland, who are not usually heard by society. 

For the 40 minutes of performance, we are exposed to the brutal and inhumane lives these women lead. We witness the entrapment, the sexual abuse, the loss of dignity, the loss of power, the competitiveness amongst the women and the endless sexual tasks they are expected to perform and feel obliged to provide. We heard the voices of the real life victims of this horrific existence, their stories, their pain, their suffering, and their inability to escape. But importantly, we also heard the voices of those who finally did manage to escape from this world and are now trying to make a better life for themselves.  

On stage, in what can only be described as one of the bravest acts I have ever witnessed, Justine who is an ex-prostitute talked openly about her past life, exposing the audience to the harsh realities of this existence. She is a woman who is full of character and bravado, someone you would love to grab a drink with, someone who has suffered immensely but also someone who seems unwilling to live her life as a victim.  She is incredibly honest and her strength and willingness to share her past with a room full of strangers was something truly admirable and moving.

During the post show discussion, another ex prostitute, who was sitting in the audience and who had also been involved in the process, informed the audience that ‘everything you saw on stage today was the truth. This is the truth’. When I spoke to this same woman after the show, and told her how I admired her greatly, she told me it was vital for me to get involved with the Turn Off The Red Light campaign straight away, how important it was. After hearing a first hand account of what can only be described as a disgusting, inhumane industry, I followed this woman’s advice as soon I got home.

In Ireland today, it is illegal to sell one's body, but not illegal to buy another's body. Justine described nights where she and her fellow workers would be herded out of building in their underwear, sometimes on the street in front of children, while the clients of these women would simply be told to be on their way. Both ex prostitutes emphasized the absolute need of getting these men prosecuted. If more people could witness the cruel circumstances prostitutes endure, and had the ability to see that these women are just normal women like one's mother, one's sister, one's friend, perhaps a stronger action would be taken against prostitution in this country. At the end of the day these women are human beings, and as Justine asked the audience in the post show discussion ‘How can it ever be ok to buy another human being?’.

I wanted the post show discussion to last longer, to last for hours! I wanted to express my admiration both to the bravery of the prostitutes who were willing to be involved, and to the theatre-makers, who so effectively gave these women a voice through art. What I have learnt today more then any other theatrical experience in my life is that art can truly reflect society and give voice to those who are not usually heard. It can provoke discussion. If it can provoke discussion, it can hopefully provoke action.

The Abbey Theatre can play a vital role in Irish society. It has the ability to be the space where societal questions are raised and conversation is provoked.

I hope that more similar work is produced because I have learnt today how incredibly important it is. I will never forget my experience at the Abbey Theatre today and only wish more people had the opportunity to see this performance.

http://www.ruhama.ie/   - Supporting women affected by prostitution

http://www.turnofftheredlight.ie - Campaign to end prostitution and sex trafficking in Ireland.

16/11/2012

Elevator Review- Dublin Fringe Festival

THISISPOPBABY have quickly become one of Ireland’s leading young theatre companies, carving a well-respected name for themselves in the Irish theatrical circle. After their infamous electro-pop musical Alice in Funderland, which had a successful run in the Abbey Theatre earlier this year, their newest piece Elevator, directed by Wayne Jordan and written by Philip McMahon, is unsurprisingly one of the most highly anticipated productions in this year’s Dublin Fringe Festival. Set in a land of excess where everything is available, we are asked the question “Just when is enough, enough?”

Dressed in beautifully chic eveningwear, six attractive young people, along with the housemaid, gather for a party in a swish mansion in the woods of an unknown country. The glossy floor and appropriately large white leather couch are instant indicators that we are entering into an environment of wealth and affluence.

Almost immediately, a party begins and we are brought on a tumultuous journey of self-loss and mindlessness. In a dreamlike montage of sexual-mingling and drug-snorting oblivion, THISISPOPBABY drag us from reality into a sphere of no consequence, where nothing really makes sense, but where nothing needs to make sense. Alma Kelliher’s haunting soundtrack powerfully evokes a sense of other-worldliness with its almost hallucinogenic quality. Other aesthetics, such as the long white neon lights flashing behind the black screen and the animal masks prod the production in the direction of a warped fairytale, not unlike the atmosphere created in Alice in Funderland.  

While Elevator is visually stimulating and probes its audience to enter the unbalanced headspace of the party guests, it is somewhat disappointing that we are rarely given the opportunity to engage or empathize with the characters in a more real or tangible way. There is hope initially perhaps that relationships may form or friendships may blossom at this party, allowing us to engage with these characters as real people. Their fickleness, however, soon seeps through, making it difficult to relate or empathize with them in any way. Moments of intimacy or affection never seem to satisfy for too long. This results in each character’s incessant need for a new sexual partner, thus creating the sense that all human relationships in their world are empty and meaningless. Our inability to truly relate to these empty vessels on stage somewhat desensitizes us, making us indifferent to their increasing decline into the realm of self-destruction. Nevertheless, McMahon’s text is at times rich and beautiful, exposing some of the character’s vulnerabilities, through the short anecdotes, delivered delicately by the talented cast. The scarcity of these moments however, makes us crave a deeper level of insight and understanding, which we unfortunately never do.

While the actions on stage are executed with the intent of exposing the extremity of these seven characters, the repetitive drug-use and sexual gratification soon becomes somewhat predictable, thus losing its overall effect. Disappointingly, there is no defining moment where the beautiful characters on stage must return to reality and face the consequences that come with being human. Instead the piece ends with another line of coke, commencing the illusory party once more.

While Elevator is an entertaining and stylish piece of theatre, it is not a production that will reverberate in my mind for months to come. Saying that, THISISPOPBABY certainly capture the loss of meaning and the inescapable hollowness within this bubble of excess, answering the original question of “What happens in a world where everything is available, yet nothing ever satisfies?”, and perhaps, that is enough.

Firestarter*

What? A 5 day networking project between international people involved in youth theatre.


Why? To develop future collaborative projects together. 

Where? Cork

When? 29th March- 2nd April, 2012.

How? Eszter Nemethi

The idea of Firestarter* began in London 2011 with an event organised by INCA UK: "Youth and Theatre- a residential meeting for diversity." When a group of young theatre practitioners and youth workers took part on this programme they decided that more collaborations should be made between them. And thus, Firestarter* was born.

I say it like I was there. I wasn't...

However, although I hadn't been involed in London, I was extremely lucky to have been adopted by Makeshift Ensemble(again) and brought along to Cork this week as a Firestarter* participant. I feel I'm beginning to make a habit of ending up places I'm not actually meant to be...but HEY, another adventure, another story, another blog!

The intention of the programme was for the different organizations and countries to develop future projects together. I can safely say this intention was fulfilled. VERY fulfilled. This is the result of three days:

• Residency Programme in Italy based on isolation. (Thought of, developed and applied for all within 6 hours. Yes, 6 hours.)
• A series of 4 diverse trainings over the next year and a half taking place in Bulgaria, Cork, Serbia and Holland.
• An international acting ensemble, beginning in the Czech Republic with a 3 week residency.

All in all, not too shabby I think.

I would love to try and capture the remarkable atmosphere and work ethic I experienced during my escapades in Cork and the only word that does that is the word Manifesto. For two full days we worked for hours on end in the dark, cave-like studio in the Theatre Development Centre (TDC), discussing, debating, planning and exploring ideas.

                                                                      

Being surrounded by these creative, ambitious and proactive people was slightly intimidating at times but also really inspiring.

What was really promising about the weekend was that everyone was given the opportunity to present themselves and any ideas they might have about possible future projects. We even had a proposal fair. What's a proposal fair I hear you ask? The proposal fair was a process where each person set up a market stall with the details of a project they would like to pursue in the future.Everyone then had the opportunity to express interest in whichever proposals appealed to them.

The Proposal Fair

As well as the fabulous Makeshift Ensemble ,other organizations included INCA UK, Dramability BG, Olde Vechte Foundation, CUTE and Teatro Instabile Berlino.

                                                                                                  

                                                                              

We also did a series of short, diverse workshops which included puppetry, intensive interaction,media,playing with genres and massage. And let's not forget our theatre trip to see Oedipus the King. That was something unforgettable...

                                                

The greatest outcome of the weekend was that we are now officially Firestarter*, an informal international organization that will continue to work together on theatrical and social projects. 

I am happy about the friends I have made. I am excited about what is to come.I am amazed that I am actually a part of this...

For more info: http://firestarter.makeshiftensemble.com/

Fin x        

                         

The Viking Theatre @ the sheds

The Viking Theatre@ the sheds is a newly-opened, intimate theatre space situated above Connolly’s pub in Clontarf, Dublin. This is an exciting new venue offering a diverse programme of events and an artistic outlet for both audiences and performers. Today, I sat down with the co-founders, director Laura Dowdall and actor Andrew Murray to learn more about the theatre.



Could you tell me a little bit about the Viking and how the theatre came about?

Andrew: I suppose for a number of years now, anybody who is involved with theatre in a small scale was finding it increasingly difficult to find a venue at an affordable price. Myself and Laura had done a few productions together and we’d talked about where we would go and what we would do. Everywhere was expensive and you were taking a high risk. We had talked about doing plays in pubs or somewhere that was quite accessible to people. We were at a pub quiz one night in Connolly’s and the idea came of doing The Weir because it is set in a bar and our theatre has a bar in it. We thought we could just put out a load of chairs and do The Weir. So, we approached Peter Connolly downstairs and asked what the chance was of doing plays upstairs and he just said “Yeah, ok.”

Had either of you ever intended on opening a theatre before this?

Laura: I think it’s always kind of something on the wish list, having your own space to put on your own plays. But, it’s funny, since we’ve opened this space, we’ve been so busy running it and being a receiving house bringing in productions. The Weir is the first thing we put on ourselves. I directed it. Now, in two weeks, Andy is going to get a chance to actually act in one of the productions.

What were the initial goals or ambitions you had for this theatre?

Andrew: I guess it was to make theatre really accessible to people, to keep the price low, to put on really good quality stuff so that, you know, if you took a chance on walking in, you were going to see something good, rather than something in a school hall or whatever. I guess the long term goal was to do productions of our own and to introduce theatre to people who have never even been into a theatre. We’ve had a few of those in, which is really surprising. People have approached us and gone “I’ve never been to the theatre ever, I’ve never seen a play, this is my first play”. When somebody says that to you, it’s actually kind of moving.

Do you think this theatre has had an impact on the community down here in Clontarf?

Laura: Oh yes, very much so. It’s like pushing an open door. It’s like it was something waiting to happen. There’s 17,000 people living in the greater Clontarf area, so that’s an awful lot of people immediately who can nearly walk to the theatre and they don’t have to go to town. They don’t have the expense of taxis or bus fares in or out. It’s €10, it’s down the road and they can have a drink. There has been great support from all of the locals.

What are the main attractions of a theatre like this?

Andrew: A lot of our punters that have been in have said that going to town is such a big thing these days. Theatre tickets are expensive, you have to get taxis and by the time you’re home, you’ve spent €150. A lot of people are saying this is right down the road from them, they can stroll down, easy to get here. There’s no formality attached to it. I suppose theatre has got a little bit of elitism. We try to encourage people and say “Not at all, it’s not like that. Just turn up and have a drink and enjoy yourself.” 

What type of productions have you produced here before?

Laura: We try to provide a variety so that it will attract and please a lot of people. 

Andrew: Anything from Joyce to McPherson. Ironically actually, a lot of the stuff we did originally, a lot of it was Irish written, just by chance. It wasn’t a deliberate policy of ours. It turned out that an awful lot of the good stuff out there is Irish written and Irish produced and has toured extensively.

Where would you like to see the Viking in 3 years time?

Laura: Still here!

Andrew: Still here but that we own the three houses next door and that we’ve broken into them and that we have a huge place… No, we’re happy with the way it is at the moment.

Laura: We really need more people to hear about us, we need to get the word out there.

Andrew: I guess we’d love to get a reputation like places like The King’s Head and The Bush Theatre in London, where people like Ian McKellan and these big names will actually come and they’ll do it in front of 50 or 60 people. They look on venues like that with admiration and respect because it’s such a difficult business to survive in and if you do and you are appealing to the right people, then yeah, you can go forever. I’d love to see some big names here.

Can you describe the Viking in 3 words?

Andrew: Intimate

Laura: Friendly

Andrew: Yeah, and high quality.

For more information about The Viking @ the sheds and their upcoming productions, visit: http://www.vikingtheatredublin.com/

Grenades, Bewley's Café Theatre- Review

In theatre today, the responsibility of a production’s success lies largely on the shoulders of the director.  Audiences often desire to experience something new or shocking; thus it is sometimes refreshing to attend a production such as Grenades, that although incredibly simple, still offers a highly effective theatrical experience.

Grenades was originally produced in 2010 as a radio play and since then has soared into theatrical success, both nationally and internationally. With a minimal set, simple lights and one actor on stage, Tara McKevitt’s production is stripped back, relying largely on language to communicate the story of troubled teenager Nuala Kelly (Emma O‘Grady). 

Set in Northern Ireland, the play explores the devastating effects that political turmoil can inflict on families. Exploring the victimization of children during political agitation, McKevitt’s production focuses solely on the character of Nuala Kelly, an outspoken, opinionated nine year old. Emma O’Grady captures the innocence of the boisterous child, who offers us glimpses into the local community through her animated impressions of characters such as Elaine Jam-Jar Glasses. However, when Nuala’s loss of family is revealed, the play poignantly probes the long term effects of such psychological damage.

The set is simple, yet purposeful. Consisting of  plain walls and a simple green plastic chair, one remains unsure as to whether Nuala is inside a prison cell, or inside the waiting room of the prison. This creates a level of uncertainty regarding the plot throughout. The frozen clock on the wall is perhaps symbolic of Nuala’s inability to emotionally progress from the day her life was destroyed. One gets the impression that the story she shares with us is one that she delivers on a regular basis.

Along with Caroline Lynch’s crisp direction, McKevitt’s writing is authentic and sensitively captures the voice of a child. However, it is Emma O’Grady‘s performance that brings the production to life. While the thought of one actor on stage for an hour can seem monotonous, O’Grady’s performance is engaging with her ability to entertain and move her audience.

 

As I had never attended Bewley’s Café Theatre before, I was slightly unconvinced that such a minimalist theatre could prove to be as effective as a production in a larger, more equipped space. However, after observing people sit around tables, sipping tea and coffee like one would in their own home, while still listening intently to the performance on stage, I believe I am reformed . While it would not be the case for every production, the relationship between the actor and the audience was intensified hugely due to the level of intimacy created by the space. This added significantly to the overall production and allowed us space to listen to each word delivered by O’Grady. 

The Magic of the Melodican...

There are many words one could use to describe Macnas, some of which include whacky, wild, explosive, spectacularly creative and simply brilliant. They dream the extreme!

This week, myself and a troupe of performers became wild and wonderful inventors, joining the Macnas family for the St. Patrick's Day Parade.

 

A performance based on mischief and madness, greatness and genius, insanity, ecstasy, joy and dreams, our Macnas experience was bound to be full of play, magic and experimentation.

Under the direction of Bryan Burroughs, the group attended a series of workshops in the Lir,where we played, moved, invented and created. 

Our source of inspiration came from this contraption, known as the Melodican.

 

Together as an ensemble, we built this magical device, our greatest creation yet! Our invention makes the sun shine, shoots thousands of butterflies all over Dublin, farts freckles, makes music, turns your hair red and flies. Obviously.

It was a privilege to work and perform with Bryan Burroughs, who stepped into the role of chief inventor, guiding us on our inventor ways. There was a real sense of ensemble throughout the entire rehearsal process, with a great emphasis on the body and imagination. We created a performance with the help of secret codes that are so secret I couldn't possibly reveal what they mean, such as:

Melodican                                                          Invention

                                    Inspiration 

Combustion                                                       Respiration

Noeline Kavanagh, director of Macnas, attended two of our rehearsals, polishing our performance and offering us advice about the wondrous spontaneity and excitement of Street Theatre. 

I'm going to take this moment to say that she is quite possible the coolest person ever.

Her energy and passion was inspiring and mind-boggling. Watching her at work is like watching a steam train racing over the moon at full pace, again and again. With such devotion to what she does, Noeline's presence made a big impact on the group. Above anything else, there seemed to be an acknowledgement that we were involved with something very special.

Performing in the parade was one of the more surreal moments of my life. It was the sort of experience that no matter how much time I spent slaving over the keyboard, I would never capture the essence of magic that I experienced yesterday.

Performing to a quarter of a million people in the open air of Dublin, in a costume that could only be described as exquisite, with a group of extremely talented performers, was something quite unforgettable. 

While I had been initially worried about the distance we would be performing, we had reached the finishing line before we knew it. 

The entire performance was like one big blur of laughter, excitement, vigour,creativeness, smoke, colour, energy, spontaneity, inspiration, interaction, whackyness, inventions, frenzy, hysteria, passion and a wee bit of vanity for good measure.

Macnas create magic, and I am extremely grateful to have been a part of that magic.

Fin x