February 23, 2015
10 Reasons to See ‘The Girl Who Forgot to Sing Badly’ by Theatre Lovett, coming to Draíocht this weekend ...
Your friend may get to see it, love it, rave about it, wave the fact that they’ve seen it and you haven’t in your face, go on and on and on about it ad nauseam. Just get in there first and head that whole chestnut off at the PASS.
Apparently, it’s brilliant.
Its truly uplifting.
If you like boxes? Or indeed boxes within boxes? Or have a penchant for woodwork? And are impressed by design wizardry at it’s most wickedly “Now why couldn’t I have done that?” way. Then go see it.
The set-design is pretty cool.
To sit back and be treated to a compendium of Sound, Lights, Set, Story and Performance that goes together like fingers in a yummy pie.
If you like invisible drum-kits.
If you and your granny or your friend or your dad or your younger sister or any of your family and any of your friends want to laugh your socks off at the same thing at the same time and at the same place and at the same funny man who’s sweating his socks off not three feet in front of you. Phew.
To see if a brave little girl called Peggy can muster up all that it takes to save all those people that are dear to her too.
Go for Peggy. Go for her parents. And go for the packing. That’s why.
FRI 27 FEB 2015 // 10AM & 12 NOON
SAT 28 FEB 2015 // 2PM & 4PM
Main Auditorium // €7 Adults / €5 children
Duration: 75 mins / Age 7+
Booking tel: 01-8852622 or Online ... here ...
READ MORE ... HERE ...
WATCH A VIDEO SNIPPET ... HERE ...
January 21, 2015
HALLELUJAH! DRAÍOCHT’S COMMUNITY CLOWN CHOIR
With Veronica Coburn – Theatre Artist in Residence 2014/2015
Hallelujah! began in 2012 as part of Veronica Coburn’s Artist in Residency in Draíocht for 2012/2013. A Clown Choir is a group of people who gather together to sing and laugh – to sing in celebration of what it is to be human and to laugh at the ridiculousness of the world we live in. You don’t have to be a good singer or a performer to join Hallelujah! You just have to be interested and willing - the ethos is one of accessibility, inclusiveness and artistic excellence.
In 2013 Hallelujah! performed their signature tune, Smile written by Charlie Chaplin, in a variety of places . The choir also worked on a performance piece about road rage entitled The M50 Symphony, an original work for human voice and car horn. And to finish the year the choir performed their Clown Nativity on Draíocht’s Main Stage
2014 saw the Choir focus on building a musical and red nose repertoire including a selection of songs and short clown sketches. We performed at a number of events throughout 2014 including in City Hall as part of Culture Night and we recorded our show, Clown Nativity, for local Radio to be broadcast on Phoenix FM.
2015 will see Hallelujah! develop a new show for performance on Draíocht’s Main Stage in the Autumn. The piece will be created through the workshop process and written by Veronica Coburn inspired by the participants own experiences. The red nosed performers will explore themes of personal ambition, fate and courage or lack thereof.
We are currently welcoming new members to Hallelujah!
If you are sociable, like to sing, like to laugh and are open to trying new things then WE WANT YOU!
Deadline for joining is the end of February 2015.
Cost for 1 year, February-December: €100 (payable in instalments).
For further information about joining please contact Emer McGowan on firstname.lastname@example.org
For Hallelujah! Veronica Coburn is Artistic & Clown Director. Choir Director is Debra Salem. Rehearsal Director is Louise Foxe.
Veronica Coburn’s 2014/2015 Residency is supported by The Arts Council’s Theatre Artist in Residence Scheme with additional support from Fingal County Council.
WATCH ... The choir singing in Draiocht Dec 2014
WATCH ... A typical Clown Choir Warm Up Exercise! Fun!!
WATCH ... The choir singing in Farmleigh, Phoenix Park Dec 2014
January 9, 2015
STAND-UP COMEDIAN MAXINE JONES OFFERS AN ALTERNATIVE TO VALENTINE’S DAY
As Christmas cards make way for Valentine’s cards, the emphasis moves from having the ideal family to having an ideal partner.
This, more than ever, is the era of the individual. It is also an era where loneliness is endemic. Families are dispersed across the globe, separated by education, aspirations, perceptions. In the affluent West, the old village ties have long broken down. Neighbours are now mostly strangers.
The panacea to all this, the straw grasped at in the ocean of solitude? – a partner. A boyfriend or girlfriend who will make all the difference, who will recognise your worth - ‘We two shall be one.’
It’s a lot of pressure. All your emotional eggs in one basket. Culminating on February 14th in the purchase of a Valentine Card.
The restaurants are already considering their Valentine Specials, the rom-coms are ready for release.
But Valentine’s Day, like Christmas Day, perpetuates a fantasy, with as much validity as an emoticon. But we do it. And feel shame at being alone at Christmas or having no one to address a Valentine card to.
Branching out from our pockets of isolation, are the tentacles of the worldwide web, through which an increasing number of people are meeting their Valentines.
I’m of a generation that shudders at this thought, seeing it as reeking of desperation. Being so blatant about your expectations at the very point of contact seems to kill any of the thrill of the chase - those tentative first interactions tinged with tantalizing possibility.
My sons’ generation sees no such stigma and regularly uses Tinder. I’ve noticed in the comedy clubs where I ply my stand-up trade that when the MC asks couples in the audience how they met the answer is often ‘online’, with no attempt to evade this answer.
There is much more stigma attached to being on your own. When I attended comedy clubs more as an audience member than a performer I was picked on a couple of times by the MC for being on my own – mortifying.
The ‘natural’ way of meeting people, once you have left school and college behind, is the workplace. But shared workplaces are increasingly a thing of the past, with everyone doing their own thing in front of their own screen.
Social media cannot replicate the water cooler. Facebook and Twitter instead put us in a weird world where we share intimate thoughts and pictures with people we don’t know and where we are bombarded with enticements to buy into things – even if it’s just someone else’s ego.
And here comes my enticement to buy – even this blog entry cannot buck the trend.
On this Valentine’s Day, I shall be performing my stand-up show ‘Invisible Woman’ at Draiocht in Blanchardstown. And I won’t be asking who you came with and how you met!
Invisible Woman, Draiocht Blanchardstown, Sat 14 Feb, 8.15pm, Tickets: €12/€10
Booking: 01-885 2622 or online ... here ...
WATCH ... a snippet of Maxine in action ...
January 8, 2015
BE AN EARLY BIRD AND BOOK BEFORE 09 JANUARY 2015 FOR THESE NEW SEASON SHOWS AND GET THESE GREAT DISCOUNTS!
JANUARY - MUSIC
KAREN UNDERWOOD - OF LADIES LOST AND FOUND
Full price: €18 // Early Bird: €14
FEBRUARY - MUSIC
Full price: €18 // Early Bird: €14
FEBRUARY - DRAMA
FISHAMBLE: THE NEW PLAY COMPANY
Full price: €18 // Early Bird: €14
MARCH - DRAMA
BREDA CASHE PRODUCTIONS
Full price: €18 // Early Bird: €14
MARCH - DRAMA
DYAD PRODUCTIONS WITH REBECCA VAUGHAN
Full price: €16 // Early Bird: €12
Tickets must be paid in full before 09 January to avail of these Early Bird Offers.
A maximum of 6 tickets can be bought at these prices per person.
Not applicable to group bookings.
BOX OFFICE 01 885 2622
December 8, 2014
08 December 2014 - Our Arty Blogger is back! Des Kenny gives a personal response to our current exhibition by Sinead McDonald, ‘Uchronia’.
Sinead McDonald’s photographs in Draíocht’s First Floor Gallery explore, through the medium of self-portraiture, alternative identities she might have assumed if destiny and chance had determined a different future from her present fate as an artist. Can fantasising divergent future histories offer a sense of control over current existence? Are all our blind tomorrows fractured if viewed from a disordered contemporary society? Such questions naturally surface when standing before these inquisitive images.
Self Portrait at my son's grave on his birthday
In one of the more poignant photographs the artist stands in a graveyard before her imagined son’s gravestone. It is the only photograph in which the artist does not confront the viewers gaze but turns away and hides her devouring loss from voyeuristic eyes. It is a frightening realisation that even invented suppositions have ungovernable and painful tragedies. A fiction can fearfully seed contemporary life with a premonition that may summon unwanted fate.
Self Portrait once removed
In Self Portrait Once Removed the artist presents herself as a young teenage boy standing awkwardly but self absorbed in his school tracksuit on a suburban street. He seems to portray an internal conflict while assuming the identity of a female persona in a male body. The boy becomes an actor transforming his identity to inhabit another’s vision as the artist becomes an ambiguous spectator while she views her own gender change. The sexual metamorphasis hints at the dual nature of our humanity that lies submerged in the silhouetted preserve of the psyche.
Self Portrait if my parents had called me Irene Sinéad instead of Sinéad Irene
There is also wit and humour explored in certain images. In one photo the artist poses the question what would happen if my names were reversed from Sinéad Irene to Irene Sinéad. Inevitably this minor rearrangement creates a new character of a primary school teacher in a catholic school. Irene Sinead sits primly in a chair soberly dressed correcting children’s exercise books as a statue of the Virgin Mary looks down on high denoting that greater forces than humanity decide our vocation. The theme of naming a child and its consequence is explored in the famous Johnny Cash song where the absent father called his son Sue. He grew up strong, learning to defend himself, fighting all who jeered his name. Irene Sinead on the other hand is not a fighter but a shy introspective school teacher preparing children for exciting possible futures reserved Irene will not achieve since she accepts fatalistically life is predetermined.
Self Portrait if I'd been born an only child
While in a Self Portrait as an only Child she stands confidently erect in a dress suit next to her Audi. She places her hand on the car proudly proclaiming ownership. Her world is ordered but conventional and there is no desire to experience life beyond her middle class existence.
In another photograph she has become a doctor because she accidently walked home in 1989 by way of Camden Street. What mysterious event occurred on Camden Street that helped decide the career of the protagonist is shuttered away unseen but had profound effects similar to Saint Paul on his eventful journey on the road to Damascus. We are left wondering if contrary routes were chosen, divergent outcomes would unfold, changing the course of personal and world history.
In all the photographs the artist portrays her characters with their hair tied up in a ponytail. The presentation of hair typifies the role of each character and becomes a prop in creating new identities. Yet in Self Portrait Working on the Time Machine her hair hangs loosely, flowing uninterrupted over her shoulder. Caught in the present her hair flows undisturbed not yet ready to participate in future characterisations since the time machine is not switched on. The artist stands transfixed anxiously waiting for the time machine to decide her future. The show leaves the spectator pondering many unanswered questions but this is a strength not a weakness. Long after leaving Draíocht the viewer is burdened with lingering thoughts that life’s arresting past may dictate our shimmering tomorrows.
Self Portrait Working on the Time Machine
Desmond Kenny is an artist based in Hartstown, Dublin 15. He is a self taught painter, since he began making art in 1986 he has since exhibited widely in Ireland and abroad, solo shows include Draíocht in 2001, The Lab in 2006 and Pallas Contemporary Projects in 2008. His work is included in many collections including the Office of Public Works, SIPTU, and Fingal County Council. Kenny's practice also incorporates print making and he has been a member of Graphic Studio Dublin since 2004.