Tag Archives: cuirt 2017

Doing The Show Again

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Orla Tubridy  -Iphigenia

I have always found remounting a show a challenge. I suppose it’s the lazy performer in me. Inside me a weaselly mischievous voice is saying, “People liked it the last time, didn’t they? Just do it as you did it before.” Of course we all know that even if you have been too busy to give the piece much thought that the magic alchemy of time has stirred your imagination and your soul and that it cannot be anything like the same. And this is true not only for you, but everyone involved. Time has moved on, you all have a different perspective.

Peter Brook understood this all too well. He brought performers up to speed so that they could perform the play before an audience, before dissecting the work, learning from it and almost starting again, working towards their next performance. Despite current performance-as-research and other workshopping processes this idea is still rejected as either financially untenable or more importantly as an interruption of the director’s and actors’ ‘private’ process (as if you could learn nothing from performance at all and it was an invalid way of learning!). We were offered this opportunity by default. We had had our one performance and were now some months later, remounting it for a different occasion and a different space.

The first thing I did when revisiting THE SACRIFICIAL WIND, a dramatic poetry performance in this years Cuirt Festival of Literature, which had previously been mounted as an Arts in Action project for the National University of Ireland Galway in the new O’Donoghue Centre, was to reorder some of the poems. I also was in discussion about the ending, which both myself, the writer, and it turns out, the actors were not happy with and felt it didn’t work dramatically. This change highlights where we went next because having made that change, all the rest followed .

I need to explain; in the original, the final poem became a speech to the audience by the actors about the moral ramifications of what they had seen, which made the piece sound too didactic, rather than letting the characters speak. Once we cut that poem and ended the piece with Euripides’ final words, the intensity moved through energetically to the very end. It changed everything; not only the shape but the ethos and focus of the piece. It made the piece much more character driven than it had been, which in turn freed up the actors to embody the text as the characters, even more than they had before. This in turn greatly enlivened and intensified the work making the whole piece more edgy and unpredictable. This, and one or two other text changes fundamentally changed the form of the piece. Anyone who works with Michael Chekhov technique understands that two of the basics are the feeling of form and the feeling of the whole. If remounting this show has proved anything it has proved those tenets to be true. Not that I needed that proof mind you but the profundity of those structural changes and where they led us surprised even me.

Another thing that has intensified the work is the change of venue.The Town Hall Studio is a small 64 seat room; the O’Donoghue  where we performed first is a 120 seat venue which has a kind of formality about it. The new venue brought with it a rough, less predictable atmosphere, where the confessional nature of the characters became even stronger as they tried to justify their actions to the audience around the sacrifice of the young princess Iphigenia and their collusion in the start of a bloody and protracted war. As a result, the lighting became less formal and more dramatic as did the staging.

The packed house last night and the warm reception might mean that it is hard to get a ticket. It is only on for another three nights. I would advise you book through http://www.tht.ie or http://www.cuirt.ie if you are around Galway and intending to come! on Thursday night we are having a talk back after the show with Lorna Shaughnessy the writer and myself chaired by Tony Hegarty.

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Me and Cuirt : The Sacrificial Wind

I have been involved on and off with Cuirt International Festival of Literature in Galway since 1995 not long after I arrived from England. At that time I was working a lot as a writer and had been joint winner of the Apples and Snakes Performance Poet of the Year. My first foray into Cuirt was at The Bardic Breakfast (with my performance poetry hat on) and was encouraged and supported by Mike Diskin who then ran Galway Arts Centre. Over the years I ran classes on voice work and performing poetry, I had forays into schools and but most particularly did three notable productions with Galway Youth Theatre as part of Cuirt; Alien Nation, The Trial and The Midnight Court.

Alien Nation is my own youth play about racism set in Ireland, now even more relevant alas than it was then. Using rhythm and chanting cut between short violent naturalistic scenes, we performed the play in an Art Gallery. The young people blew the room up with their energy and people queued up the street to see it. We had to put on extra performances. Many of these young people are now serious theatre and film makers themselves. The play has been used in schools all over Ireland, has had many productions and is published.

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The Trial

The Trial (Berkoff’s version of the Kafka novel) required energy and unbelievable ensemble discipline. After its massive success in the Cuirt where it got a glowing Irish Times review from Eileen Battersby, “this honours and defines the concept of theatre” The play was revived and we went to England with it.

Ciaran Carson’s gutsy version of The Midnight Court, the Irish classic which he rendered into English, was part of an incredible last night of Cuirt in, I think, 05. As I recall the Cuirt had part sponsored the version. On the final night, Ciaran Carson read from his text and then Brid NI Neachtain a highly respected Irish actress read portions in Irish. Finally we presented our raucous rappy ferocious 50 minute version to a massive standing ovation. It was for me an unforgettable event. Unfortunately as the event was on the cusp of  time before we recorded everything, no record remains of this once-off production. No video, no photographs, nothing.

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the Sacrificial Wind 2017

So it is with great delight that after a long absence I am back with my company, the performance arm of Chekhov Training and Performance Ireland, to perform Lorna Shaughnessy’s SACRIFICIAL WIND, a dramatic poetry performance based around the sacrifice of Iphigenia who was killed to appease a goddess so the men could get a wind to take them to Troy. Performed in the intimate Town Hall Studio Galway, this intense piece mixes poetry, characters in cornered and dangerous situations, and asks questions of our response to the dangerous world in which we find ourselves.

First presented as part of the Arts in Action programme at NUI Galway, the piece has grown in intensity and variety with its trio of dedicated and versatile actors, Catherine Denning, Michael Irwin and Orla Tubridy.

It lasts 50 minutes and tickets are still available at http://www.cuirt.ie or http://www.tht.ie