Tag Archives: original play

Bewley’s Café Theatre: Jericho


Here’s some substantial and even, perhaps, existential thought for your lunch break: how did we end up in this giant puddle of poo-poo? I mean: us. Yes. Us. And the world. The little blue dot we all happily inhabit.

What do you do when you’ve been asked to make a play about the world? Our world. Where do you start? Where do you start?… The uneasy task was taken upon by one of Dublin’s most progressive and forth-looking theatre companies: Malaprop. The answer they came up with might not be the most obvious one but it sure is a very interesting approach to something so deep and important. Malaprop bravely decided to wrestle the discomforting subject. Both literally and metaphorically. And the result is Jericho.

After a couple of not-quite-so-satisfying attempts, Maeve O’Mahony finally emerges on stage the way she has always imagined it: with the triumphant music playing on the background and hundreds of fans cheering for her victory. But the question remains: what did she win? In the comfortable cosy life of hers, O’Mahony’s character is a young journalism graduate who works for one of those so popular nowadays newspapers that generates traffic on clicks. Our nameless heroine tells us she has to write a new story every 45 minutes and hope that it will be read (or at least clicked on) by as many people as possible. In an office meeting it was proposed to feature an article on Wrestlemania (the one where the current president of one of the most powerful countries on earth bodyshames another billionaire and entertainer by publicly shaving his head) and though she doesn’t know a thing about wrestling and thinks that maybe, perhaps, we should focus on something more important like feminism and women’s rights right now, yet she doesn’t say a thing and just smiles and nods.

Interestingly enough Jericho itself lasts for approximately 45 min. Just long enough for us to focus on one thing before our attention will inevitably be diverted by something completely different and undoubtedly much less important though hugely entertaining, like a video of a cute cat or a baby.

Jericho (“The city. Not the wrestler”… I think) is loaded with visual and audio materials. The smartly designed stage (by Molly O’Cathain) quickly transforms from our heroine’s office into her rented apartment, into a wrestling arena, etc. This production is a nice example of an interactive play where the audience can feel like they are being part of the created on-stage world. O’Mahony speaks with you rather than at you. The amount of flashing and sounding effects (by John Gunning) is overwhelming at times but it does the trick and produces the feeling of being so overpowered by the media that we can’t hear our own thoughts anymore.

O’Mahony does an absolutely fantastic job portraying her typical 21st century girl with a degree and a wish to make the world a better place. But, you know, life just gets onto the way sometimes. I mean: all the time. It happens to all of us and that’s why we, just like her, don’t say anything, don’t do anything and just carry on. Click. Click. Another page. Another story.

Jericho, devised  by Malaprop Theatre Co and directed by Claire O’Reilly, runs in the Bewley’s Café Theatre until March 4th. Food for thought indeed it is. For more info or to book tickets: http://www.bewleyscafetheatre.com/events/jericho

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Scene and Heard Festival: Interview with Romana Testasecca – Syrius


Another day – another show. The second week of Scene and Heard Festival has already begun and we are talking human interest, international crisis and physical theatre now. All combined in one: SYRIUS, a new movement piece produced and performed by Romana Testasecca in association with Rosebuds Theatre Company.

In the interview below Romana talks about why she chose such a difficult subject as Syrian civil war and its effects on common civil Syrians; Romana also explains why she decided to present her new play as a movement piece rather than anything else.

SYRIUS will run for three nights only from Feb 24th to 26th in the Smock Alley Theatre’s Main Space. To book the tickets: http://entertainment.ie/show-/Smock-Alley-Theatre/Scene-Heard-Syrius/event-2789898.htm


Tell me a little bit about the piece. Is it your first solo movement performance?

1. We’re very excited to present this piece on behalf of Rosebuds, Karen Killeen and I (co-
founders) have never worked on anything like this before. The process has been very interesting and a real eye-opener. The piece is centred around the story of a young Syrian woman, Rasha, who is forced to leave her country. The piece starts just before Rasha takes part in a peaceful protest against Bashar al-Assad which leads to Rasha’s imprisonment. In prison she realises that “the Syria she knows has gone” and it’s time for her to leave. This is my first solo piece and I am very grateful that it will be taking place at Smock Alley Theatre main space to meet its first audience this Friday, Saturday and Sunday at 6.30 pm. (24th -26th Feb)

What made you decide to create a movement piece? Why this genre in particular?

2. Movement is extremely effective especially when the subject matter is so difficult for us to talk about. In many catastrophic situations, like the Syrian civil war happening right now and the subsequent difficulties thousands of refugees are facing, people find it hard to express their feelings about it. It’s hard to comprehend, we say things like “there are no words”, we find it hard to process and vocalise painful news. When matters are beyond our control and we feel helpless it is hard to express our thoughts. Sometimes a visceral bodily reaction is all we have.

Who and how came up with the story behind the piece? Tell me a little bit about the creation of the piece.

3. The process started from an idea I had about telling a specific story of a refugee and the circumstances that led up to that happening. Conversations between myself and the director Karen Killeen gave a structure and arch to the piece. After a lot of research, we pin-pointed what was going to happen, section by section. We then brought in our wonderful choreographer Stephanie Dufresne. She shaped a lot of the movement for each section. We have never had a written piece. You can’t express movement on paper. There was a lot of filming and watching back and repeating over and over. Myself and Karen rehearsed and devised all in one.

What are the main elements that can be achieved through movement and sound that wouldn’t be as noticeable or as enhanced if done in a more traditional style (i.e. a play or a monologue)?

4. Different feelings bring about movement in the body. Sometimes thoughts are hard to elaborate through words. You can achieve a certain flow when you’re moving and that sequence of movements can mean something to one person and a different thing to someone else. People can interpret movement in different ways and that’s what makes it so interesting and unique. Movement connects a different part of us which is very rarely exposed.

The sound, designed by the talented Garret Hynes, is extremely helpful in conveying the message and feeding the narrative. The tricky part of abstract movement is that when it gets too abstract people don’t know what’s going on. When you are invested in the story and you’re creating it, you know what is going on so you feel it’s obvious. You aim to leave the audience as free as possible but you can’t give them too little either or you’ll lose them. It has to be balanced out and the sound provides a great equilibrium and serves as a guide for the audience. The audience then connects the visual with the audio.

What are the main challenges // advantages for you rehearsing and performing the piece?

5. The process is very free and liberating. There are no boundaries but if anything doesn’t work, we’re not afraid of letting it go or moving sections around so that the pieces fit together. It’s good to peel back and get to the core of what we’re trying to achieve. As a performer, you don’t always get the chance to move freely in the space and follow your physical instincts so that has been incredibly interesting to explore. I found it very useful to record myself and to watch it back with an objective eye. The challenge is assigning the correct weight to each part and moving coherently from section to section. The piece is abstract but it does follow a linear narrative, we have inserted voiceovers and certain moments in the story to give a little more context.

What would you like to achieve through the piece? What would you like the audience to bring home with them after the performance?

6. Ideally, we would love for the audience to connect with this story, no matter how far away it is from their own reality; SYRIUS is a universal story about losing everything you hold close, starting with your country. Geographically we are far from what is happening in Syria but that does not excuse us from being mentally disconnected from it. I’d like for the audience to reflect upon what is happening right now and ask themselves what we can do to help refugees. As a nation but also as individuals. These people need our help and all we have is our voice and our bodies. We have to use ourselves to speak out on behalf of people like Rasha. We have to welcome them in our countries. We have to give them a voice.

If you could describe the piece in three words only what would they be?



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Scene and Heard: Tender Mercies


The yearly festival of the original raw writing Scene + Heard is in its full swing. Colette Cullen, the creator of YES and Blind Date, together with Home You Go Productions presents a brand new play – Tender Mercies.

In this poignantly darkish tale of life, love and loss we follow the story of Mary Fortune (played by Denise Quinn), a middle-aged hairdresser who happened not to be as fortunate as her last name might suggest. Tender Mercies invites us to an hour long ride during which we don’t only meet some of Miss Fortune’s most notorious costumers but also get a peek into Mary’s somewhat more personal affairs. A smoker and a hopeless wine drinker, she isn’t a cliché. She is a person who, just like anyone else, wants to love and be loved back.

In this wild and, at times, unbelievable mixture of dark comedy and bitter tragedy, Quinn blows the life into her character and creates an unforgettable one woman show. Her doubtlessly outstanding performance is hugely supported by the thoroughly written script. You cry, you laugh, you are left in an awe. The time flies as you are getting more and more involved into Mary’s entangled story. The twisted ending hits you unexpectedly and hard. I didn’t see that coming! – the whispers from the audience exclaim.

With quite a simplistic but elaborated set and decorations (designed by Carolyn Croke), Tender Mercies benefits from some very nice creative touches when it comes to both directing (also by Colette Cullen) and staging. No doubt though that apart from the solid script the strongest side of the play is Quinn’s absolutely breathtaking portrayal of Mary Fortune. Taking into account that this is still a kind of a raw material brought out to the audience basically for a trial, the play has an enormous potential. Especially, if staged in a somewhat smaller and more intimate space. And once all the little things are sharpened, Tender Mercies is going to be a must-see of the year.

Unfortunately, the show enjoyed quite a short two-day only run at the Smock Alley’s Main Space. But, for more information (and fingers crossed for its soon return) about Tender Mercies and its future, please, follow: http://www.homeyougoproductions.com/index.html 

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The New Theatre: Happy Birthday Jacob


You know a decent play from the very start! Beautifully designed stage (by Ciara Murnane), intriguing beginning and an adorable 10 year old playing one of the main parts! It’s unusual enough for a big production to have child actors (never mind The Abbey’s latest staging of Anna Karenina), let alone a first production of an original play. Challenge must definitely be something Púca Productions aren’t afraid of and ready to embrace.

A poignant tragedy about two brothers: a 17 year old Jacob (played by Sean Basil Crawford) and a 10 year old Lucas (played by Finian Duff Lennon). After both of their parents left them, for eight years Jacob has been looking after his baby brother. Perhaps not an ideal brother himself, with demons of his own as we all are, Jacob was the one who stayed behind and always cared for Lucas. Living in a run-down flat and barely making ends meet, the situation, nevertheless, takes an even worse turn when Lucas suddenly gets into fight at school and parents are being called in. Jacob quickly realises the gravity of the situation; his baby brother, the only person he has in this world, can be soon taken away from him as there is no parent or legal guardian looking after the two underaged boys. The only hope remains that in a couple of days it’s Jacob’s 18th birthday. And then a sudden knock on the door from the past comes…

In Michael Marshall’s roller-coaster script, there is everything a good audience can wish for. Hand in hand with the impeccable and obviously talented cast, the author brings you on a hugely enjoyable though highly emotional journey to Jacob’s life and loss. In Happy Birthday Jacob there is absolutely everything a solid plot needs: there is tragedy, there is comedy, there is singing and dancing (in a very cute and adorable way!), there are carefully crafted characters who make the audience really care about their lives.

Nowadays it’s quite difficult to pull off a twist at the end that is not predictable all throughout the play but Marshall did it and he did it well. Just when you think you know what’s happening, the very last scene comes as a complete jaw-dropping surprise and as the lights go out, you suddenly understand that the blackout isn’t only for the audience.

But no play, no matter how good it is, is ever truly alive without the actors actually performing the scenes and saying the words. The small cast of four in Happy Birthday Jacob beats all the possible expectations. Every single one of them absolutely shines on stage and truly gives a performance of a lifetime that shall never be forgotten. All the characters are very diverse and beautifully shaped out by both the actors and the playwright. The absolute jewel of the crown is the immensely talented Finian Duff Lenon portraying Lucas. But kudos must also be given to Maree Jane Duffy (playing Mary), whose storytelling skills were so moving it made some cry; to Karen Kelly (playing Terry) for bringing us back to the 90s in a way that no travel machine could have done better! And, of course, to Sean Basil Crawford who created a truly beautiful complex human being.

Done to a very high standard was also the technical side of the show. Happy Birthday Jacob wouldn’t be what it is without the outstanding music and sound design (by Bill Woodland).

So, if in doubt, it’s simple: don’t think twice: Happy Birthday Jacob is a play that has to be seen. It’s touching, it’s heart-breaking, it’s probably one of the best written and performed plays that you will see this year! See where I’m going with that?.. For more info or to book tickets: http://www.thenewtheatre.com/tnt_php/scripts/page/show.php?show_id=288&gi_sn=589af5e1ee950%7C0

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Teachers’ Club: The Boy with the Halogyn Hair


“Love plus drugs equals heaven.”

One. Two. Three. The lights go down. And we are back to the universe of Franner and Joey. Remember the two crack heads pumping themselves up on a rooftop with a view of Dublin North inner city?

Now we might as well place our feet down onto the solid ground and visit one of the inhabitants of that infamous building. Paula (played by Ericka Roe) used to be a good girl, who did well in school and loved and respected her parents. But shortly after turning eighteen she met a boy, a boy with the halogyn hair who turned her world upside down. But Duggo, an irresistibly attractive crack head with what seemed like years of experience in drug abuse, wasn’t only a bad influence on her. Apart from introducing her to drugs (starting with no more no less but heroin) and almost getting her involved in prostitution, the boy also physically abused Paula and from time to time would lock her in the apartment. But now, two years after, would Paula be able to break free from her addictive unhealthy obsession? Is the will strong enough?

The Boy with the Halogyn Hair is written by Eddie Naughton and directed by Kieran McDonnell, two men who must know inside out the dark world that they once created. Comparing this piece to Franner and Joey, both works have a very similar setting and even the general feeling to it but differ on a somewhat deeper subliminal level. Both plays excel at creating a sense of a freshly fleshed out worlds with real and vivid characters inhabiting it.

Being an almost seventy minute monologue, the play has a bit of a twist at the end, which shakes things up quite nicely and adds some action to an otherwise calm narration filled mainly with memories, emotions and heroin’s self-persuasion of doing the right thing.

The lighting and the set design showed an interesting gradual degradation of the main character (who is bit by bit picking up her life from the floor) throughout the play with the very last scene being the strongest one of all both visually and plot-wise. The purely stylistic effect that bright red light produces in the total darkness is a very powerful tool. It creates a sense of character being bit by bit swollen up by the demons of hell when a drug hits the vein.

An image of Dublin as many might know and have even experienced it. A female view to the mostly manly world. Paula’s story of making all the wrong decisions and having to face the consequences. The Boy with The Halogyn Hair, a poisonous story of a drug abuse reality, is a product by Little Shadow Theatre Company. For more info: https://www.facebook.com/events/146993262438490/


Filed under Little Shadow Theatre Company, Teacher's Club, Uncategorized

Theatre Upstairs: Test Dummy


After the morning with #WakingTheFeminists’s one year recap in the Abbey Theatre came an evening with the feminists just around the corner from Ireland’s National. During the Monday meeting some absolutely shocking statistics were presented on the gender imbalance in the top ten (all government sponsored) theatres and theatre companies around Ireland during the last ten years. But some hope was indeed restored for me on Tuesday night when I sat down to watch Test Dummy, an original Irish play written by a woman, performed by a woman, directed and even produced by a woman.

Theatre Upstairs in association with WeGetHighOnThis Collective presents Caitriona Daly’s new play – Test Dummy, a beautiful but ever so heartbreaking example of modern worldwide female image created by decades and generations of hardcore patriarchy.

Test Dummy might be a very abstract piece in general but it’s in the detail where you find its uniqueness and meaningfulness. In addition to the captivating script, Caitriona Ennis masterfully creates her nameless character of multiple faces and experiences; and it’s in one of those socially disfigured faces that the members of the audience will be able to sadly recognise themselves: be they the victim or the predator.

Test Dummy also managed to challenge the physical space that Theatre Upstairs is. In order to be able to experience the play more profoundly, the audience is being seated on two sides (facing each other), while the stage lies right in between them. The Dummy appears to be trapped in between watching and judging her people.

According to Caitriona Daly’s Author’s Note, she wanted this piece to be “not necessarily understood but felt”. Thanks to the exquisite combination of absolutely haunting sound (by Carl Kennedy ), skillful set (by Laura Honan) and igniting lighting (by Conor Byrne and Shane Gill) designs in addition to Ennis’ breathtaking portrayal of the Dummy, Caitriona Daly’s intention was achieved quite nicely. Louise Lowe’s spot-on directing allows this piece to be both brutally honest and tense, as well as funny and humorous.

This roughly fifty minute piece flies by in an instant. Caitriona Ennis’ human Dummy with strong voice and bright eyes “is happy to oblige” and the audience is happily left satisfied with the piece that they’ve just… no, not seen but rather experienced. So, don’t be a Dummy yourself and get your lovely (male or female regardless) bum to Theatre Upstairs to witness what comes out when three talented theatre makers and a 50/50 gender balanced crew come together to create art. For more info or to book tickets: http://www.theatreupstairs.ie/what-is-on

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Theatre Upstairs: Revolver


Unless you go through all the genuine angers you feel, both justified and unjustified, the feelings of love that you have will not have any legitimate base and will be at least partially false. Plus, eventually you will go crazy.
– Christopher Durang

You know that scene in Christopher Durang’s Beyond Therapy, where Bruce and Prudence go on a blind date with each other? And everything goes from bad to worse. All the words, that would have been better left out, were said at the most inappropriate times; all the bits and pieces of personal information that should have waited at least until the third date, were revealed without any thought given prior to opening one’s own mouth… And even if you don’t know Durang’s play, sure you would have recongised yourself in the above mentioned situation. We’ve all been on a date after (or during) which we considered the option of leaving the country and never coming back for the way we’ve completely embarrassed ourselves and ruined any chances of further happiness and life together.

Aodh (played by Colm O’Brien) and Bea (played by Charlene Craig) are also trying out their luck on the “romantic front” with the help of the magical website with a speaking-for-itself name everlasting.con. The difference is that Aodh and Bea don’t have one single chance to make a first impression, they have countless number of opportunities to wow each other for the first time… for there is a magical button that they can press at any point during the date in order to get back to the starting line. The memory of how the previous date went will be completely erased. The only side effect is that every time the button is pressed, the love birds suffer from a minor stroke. But what is a minor stroke when you get a freshly clean slate with someone you might possibly like… again.

Revolver, written by Seanan McDonnell and directed by Matthew Ralli, is a beautiful comedy with strong dialogue and an intriguing plot. McDonnell in his script rises a very interesting question: if we knew we had a second chance, would we be more inclined to reveal our true selves or would we try to pull off the most ridiculous lies to see if the other person will fall into the trap? Every time the button goes down, we witness the already known scenario but in a completely different light. With practically the same first date questions and answers, each time presented in a new perspective and at a new angle, the mood of each scene differs dramatically.

Both actors, Charlene Craig and Colm O’Brien, give a strong memorable performance. Their way of portraying Aodh and Bea, and truly making those two characters their own, is hugely enjoyable. Their ability to play the same old scenario each time in a different way and with the same amount of novelty and enthusiasm is simply admirable. With the perfect set (by Dylan Farrell) and lighting (by Teresa Nagel) design, Revolver is a compelling play to watch.

Revolver is a piece of sci-fi comedy that leaves a place for thought in one’s mind long after it’s over. In this play Sugar Coat Theatre has brought up a truly beautiful production that deserves to be seen and heard. Revolver runs in Theatre Upstairs until June 4th, for more info or to book tickets: http://www.theatreupstairs.ie/revolver

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The Pearse Center: YES (IDGTF)

The second week of highly acclaimed International Dublin Gay Theatre Festival has officially opened its doors to another bunch of creative artists.

Home You Go Productions present a new play written and directed by Colette Cullen: Yes. 

For a story like YES the timing simply couldn’t have been better. It’s just days before the first anniversary since Irish people voted YES to Marriage Equality. And those who were involved in bringing equality to the people of Ireland, had it been by canvassing or simply by putting a tick next to the Yes box in the voting form, will be able to relate so deeply to this play and the meaning behind it; all the emotions of that sunny day in late May of 2015, when the results were announced, will be evoken as the four characters sit on stage waiting to hear the news. And even though you yourself, being somewhat a time-traveler from the future, already know what’s going to happen… the memories of waiting at the Dublin Castle, the sudden unease, the fear, the “what if” will unexplainably come rushing back.

Yes is a story of four different people united in one mission: to get as many people as possible to vote Yes. They all have their own reasons for why they decided to canvass. Gina (played by Denise Quinn) is a loving mother of two sons, one of whom is gay. Gina is canvassing for her gay son Mark and his right not even to marry who he loves, but to have the same rights as his straight brother. Peter (played by David Grant) is a veteran canvasser. A veteran gay, too. He has a dark story of his own; a story of love lost too soon to AIDS. Laura (played by Andrea Cleary) is a gay woman in her thirties who is in a long term relationship with her girlfriend Caroline. Being the black ship of the family, Laura is finally happy with her current love situation; Laura just wants equality for everyone even though the prospect of marrying scares the hell out of her. Josh (played by Andy Gallagher) is the youngest and the most carefree spirit of the group. He is from down the country and enjoying his new life in Dublin, his university and his new gay friends; he even joined the gay soc. Josh hasn’t yet come out to his somewhat old-fashioned family and is planning to do so on his big brother’s wedding day.

I’ve always had a doubt about playwrights directing their own work, but Yes is a great proof of why sometimes there is no better director than the playwright. At the end of the day, nobody understands the depth of the script better than the person who wrote it. Cullen’s characters are deeply touching with each single one of them being a beautifully fleshed out person. Moreover, the ensemble of four brilliant actors made wonderful justice to their respective characters; with Denise Quinn completely stealing the show at times. Her Gina was an absolute joy to watch.

The piece becomes complete with some  very interesting directing decisions. And, the opening scene is just one of them. Using a smart strategy, it draws the audience immediately into the action. This feeling continues all the way through until the very last second. Yes evokes a whole range of emotions: it’s funny, thought-provoking and hugely entertaining; it deals with truthful human stories that are deeply personal but not private for the audience to be uncomfortable.

The cozy Pearse Center is the perfect location for a play like YES. With an already welcoming script, the play allows its audience to feel inside the action rather than just be a mere viewer. Not for a second I felt like I was watching a put on show, it was more like eavesdropping on an real conversation from a referendum headquarter of one year ago.

Yes, written and directed by Colette Cullen, opens tomorrow and runs until May 14th. For more info or to book tickets: YES.

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Theatre Upstairs: Aisling’s Seven


Aisling's Seven 2016

Have you ever wanted to do something cool, so dangerously, unbelievably enviously cool? Like, let’s say, robbing a bank? Because, why not? It’s no secret everyone can do with a bit of extra cash (a couple of hundred of thousand of one of those stable hard currencies); we all also dream about living in a nice big house by the beach, in a place where the sky is always blue,the air is always fresh and gentle and the sun is just bathing you in its never-ending warmth… Somewhere like Rio, for example. Wouldn’t life then be just wonderful?

And that aside, how cool would the process itself of stealing the money be? A black balaclava – check, a black suit – check, a torch (because who doesn’t need a torch?) – check, a couple of really smooth yoga-ish slash kung-fu movements to manoeuvre along the red lasers (there probably won’t be any, but… well, you never know), the get-away car waiting outside. THE GET-AWAY CAR!

Even if you have never dreamt of it, sure you would have seen it in one of the numerous films on the subject. And I bet, you couldn’t help but imagine yourself being in place of the protagonist. Being just as he or she was: quick, smart and cool. So unbelievably and enviously cool.

Well… so did Ash (played by Susan Barrett) and her boyfriend Dan (played by Stephen Gorman).  Ash occupies the absolutely boring and unexciting position of a bank clerk. Day after day, costumer after costumer… life doesn’t throw anything even a bit exciting into Aisling’s direction. Living in a small rented apartment in Ranelagh, our protagonist dreams of a better life somewhere sunny and hot. She even knows how to get where she wants to be: she just has to rob the Central Bank in Dublin city center. She even has a person “on the inside”: herself. She conveniently already works there. Being a security guard in a casino, Aisling’s boyfriend Dan enthusiastically agrees to help out with the “technical side” of the deal. All they need is to find the other five “contributors” to help them with their little plan. Five highly-professional volunteers who won’t ask any questions. The couple is even ready to share the stolen profit.

Ash and Dan are serious about what they are doing; they are so serious, they even have a wall board, on which they’ve drawn their dream house (it’s always good to have a clear motivation, it helps to keep moving towards the set goal). In addition to the wall, they have a 12 step plan on how to rob a bank! It’s all there on the wall.

Everything looks great and makes perfect sense. To Ash and Dan. But not to Áine (played by Sinead O’Brien), Ash’s somewhat more sensible and down-to earth sister-psychologist. Áine’s good intentions of helping her sister out start getting on Ash’s nerves. She doesn’t need her sister’s help, she has the perfect plan for her perfect future.

And just when it looks like nothing can go wrong…

Aisling’s Seven (The Central Bank Heist), written and directed by Cian O’Ceallachain, is a wonderful easy-watch, perfect for a rainy (or sunny) Friday (or any other day of the week) afternoon (or matinee on Friday and Wednesday). It’s funny. It’s actually very very funny. There are loads of great plays being staged in Dublin nowadays, but it’s really difficult to find a production where the jokes would actually make you laugh instead of simply chuckle.

The plot is far from being original but it’s the beautifully shaped characters, the wonderfully written setting and brilliant performances given by all three actors that make Aisling’s Seven really stand out.

Presented by Underdog Theatre Productions, Aisling’s Seven is the perfect treat for a relaxing and entertaining night out. Closing on Saturday, 23rd of April, there is still a chance to catch it before it ends. Do not miss your opportunity to get some first-hand information on how to plan a bank robbery. Oops, I shall say no more. All the needed info on how to proceed: http://www.theatreupstairs.ie/aislings-seven

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Crimson Sails in Inchicore College



If you are looking for something to do this Thursday, March 10th and Friday, March 11th then I have something very special for you!

Come down to Inchicore College of FE to see Crimson Sails, a new play written by Lee Coffey and directed by Helene Montague. First year Drama students together with first year Technical Theatre students present this 15 character show “about wild pirates on a quest for eternal life”. And who doesn’t like pirates and some sing-along?

Crimson Sails is an enjoyable, funny and easy to engage with 1h play. The acting is great, the singing is great…  And don’t even get me started on the set design! It has to be seen!

For more information or to book tickets, please, contact Inchicore College at (01) 453 5358 or me directly. Please, note there is a matinee performance on Thursday, March 10th at 1.30pm. There will be two evening performances at 7.30pm on Thursday and Friday. 

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