December 12, 2012
The Participants have their say after a year long Theatre project in Draiocht with Liam Halligan, culminating in an end of year performance 'You Yes You' ...
Read more here ...
I just want to say the last year being involved in Liam Halligans community project was amazing and something I won't forget in a hurry. Before this, I had always wanted to try an acting class but could never find something that suited, until this that was. After our first meeting I knew I wanted to be involved to the very end even if it was just doing props back stage and the community feeling was amazing. No one held back, which I think was largely due to Liam being such an open person, he didn't want you to do anything other than be yourself and create characters when needed.
Because of this experience I am looking into doing another acting group, though I dont know if it will be as good as the classes that Liam and Draoicht supplied to all of us in the cast. I would recommend anyone to look into any of the future projects Draiocht or Liam have, because honestly it is one of the best things you will ever sign yourself up to, even if I was sick with nerves before each performance :D
When I went to the first ‘You Yes You’ workshop, I hadn’t a clue what was in store. All the people who were doing the workshop were a few years older than me and being honest I was a bit overwhelmed that there was no one around the same age as me there. Not that I had a problem with that but I’d been so used to having everyone I did drama with being either younger or the same age as me and always competing for parts. But with the ‘You Yes You’ cast there was none of that. Everyone was behind everyone else. If you felt you couldn’t do something the cast was always behind you supporting you 100%. And the same goes for the amazing director Liam Halligan who kept the project so interesting and fun to do. He was open to any ideas the cast had. Everyone came out smiling and couldn’t wait for the next workshop. It was the highlight of my week - I couldn’t wait for Wednesday to come so I could just go to Draiocht and do the ‘You Yes You’ workshops with Liam and the rest of the cast. Liam always had the cast laughing at all of the workshops which made it so easy to get up on stage and act. ‘You Yes You’ is going to be missed and it’s a pity it was only a year long project. Because it was the best ever project in my opinion that has been done in Draiocht. And that’s thanks to Liam who was incredible to work with.
more coming soon ...
December 10, 2012
We're sad to say goodbye to Liam Halligan after his year working with Draiocht and our D15 participants ... the final performances of 'You, Yes You' were amazing ...
Enjoy some video snippets advertising the shows here ... and some from the Final Performances here ...
Also on hand was photographer Tom Lawlor who took some stunning pictures so we can remember this project for ever! More to follow ...
Liam wrote this lovely Director’s Note for the Printed Programme on the night:
The piece of theatre you will see tonight is the result of an Artist-in-Residency project which began in November of last year.
This residency provided me with a wonderful opportunity to make something new and different - a piece based on what the community have to say. It allowed me time to work with a large group of non actors in a large theatre with constant administrative support. The objective was to bring a diverse group of individuals together, to build confidence, to have fun, to collaborate, to inspire each other and to create something that mattered.
I was hoping to spend the year working with a group of about 15 individuals from the local area but then Draíocht received over 100 enquiries! So this quickly changed the shape and the possibilities of what we could create. The last thing I wanted to do was to turn people away. So, we began in February and created 4 groups of approx 12 participants. We continued with 4 week sessions in April, July and October/November.
The themes and content of the piece slowly emerged. The sequences you will see are based on the improvisations and exercises that the group really enjoyed doing. The final group of 28 ‘die hards’ selected themselves naturally. A strong group dynamic developed and the themes took on more depth. All the text and the songs you will hear were suggested by the group.
As a theatre maker I wanted to hear the voices of people who are often airbrushed out of theatre, voices that are too quiet to be heard. I hope we have achieved that.
I am hugely grateful to everyone who came along and I am delighted that such a smashing group of people stayed with it to the very end. Thank you for all your commitment, energy and bravery. It will be very difficult to ‘say goodbye’.
Very Special Thank You To:
Fingal County Council and The Arts Council who funded the project.
November 7, 2012
THE IRISH PREMIERE OF CLIVE FRANCIS’ ONE MAN ADAPTATION OF A CHRISTMAS CAROL BY CHARLES DICKENS
Opening on November 24th 2012 - One of Britain's leading stage actors Clive Francis comes to Ireland for the Irish Premiere of his unique one man adaptation of A Christmas Carol to coincide with the Dickens Bicentenary 2012. Clive Francis will perform his acclaimed production as part of his extensive Bicentenary tour of the UK and Ireland over twelve nights in eleven venues across the country from Saturday November 24th through Friday 7th December (Draiocht Blanchardstown) before the shows London premier at the new St James Theatre Westminster and further dates in Birmingham, Guildford and Bath.
Clive Francis was last seen playing Ken Lay in the West End transfer of the hit play Enron at Dublin's Gaiety Theatre as part of the Ulster Bank Dublin Theatre Festival 2010 Directed by Rupert Goold.
Inspired by Dicken's first reading and performance of A Christmas Carol at the Birmingham Town Hall on December 27th 1853 - Clive Francis re-enacts this festive masterpiece while playing every notable character in the story in a haunting, moving and brilliantly entertaining performance. Clive Francis is indeed the first actor since Charles Dickens himself to re-enact that famous reading at the Birmingham Town Hall - where his production has now become an annual event in the city where huge audiences gather each year to see his remarkable interpretation.
We caught up with Clive Francis, ahead of his Irish Tour, and he chatted about this amazing and mesmerizing production …
“A Christmas Dickens - Marley was dead to begin with, there’s no doubt about that.
And thus Charles Dickens’ slim little Christmas book gets under way and Scrooges remarkable journey of reclamation begins. A Christmas Carol is a wonderful read, full of parallels and metaphors that hopefully makes us occasionally re-examine our own existence and how we behave towards one another.
For the past twelve Christmas’ I have travelled up and down the country, performing Dickens story of redemption in a variety of settings from theatres, churches, schools, country houses and even on one occasion around the fireside of someone’s drawing room. In nearly fifty years as an actor I would say that A Christmas Carol contains the perfect script; full of emotion and rich with characterization; an absolute joy to perform.
Being Dickens bicentenary year I decided to extend the tour by taking in a large swathe of Ireland; travelling to places new to me and where I’d like to think Dickens has never been recited before. I shall also be performing it for the third year at Birmingham’s Town Hall; the first actor to do so since 1853 when Charles Dickens recited his book in front of an audience of over two and a half thousand people.
I first encountered Ebenezer Scrooge eighteen years ago when I was invited to play him for the RSC in a huge, lavish production adapted by John Mortimer. It was, as the Sunday Times reported, ‘a success the size of a giant Christmas tree appealing to the grown-up in the children and the child in the grown-ups….’
A month after we finished the run I discovered most of the set, including Scrooge’s bed, piled high in a refuse dump not far from where I lived; the first indication that Ian Judge’s brilliant production had been axed and that the chances of me ever playing the old skinflint again were pretty slim; a phone call would have been a gentler way of breaking the news!
But you know, once you’ve trod the ‘path of jagged flints and stones laid down by Scrooge’s brutal ignorance’, it’s hard to get the old boy out of your head, hence why I decided to adapt the story into a show for myself.
Charles Dickens wrote the little Christmas book, as he called it, in order to prick the consciousness of every reader in the land to make them aware of the scandalous conditions children were being forced to suffer under in factory’s and mines around the country: many working as much as eighteen-hour days for hardly the price of a loaf of bread.
So strong was his appeal that he actually impelled the government of the day to make changes to the Poor Laws, as well as other smaller acts.
The story, which had Dickens weeping, and laughing and weeping again, took a little over six weeks to compose, finishing it as he did just before December, 1843. As soon as he had scrawled ‘The End’ across the final page, he broke out, as he himself described it, like a madman.
Needless to say it was an overnight success, provoking Thomas Carlyle to go straight out and buy himself a turkey.
Ten years later Dickens made the first of his many personal appearances when he performed A Christmas Carol in front of an audience of working class people inside Birmingham’s Town Hall, a performance that lasted just under three hours; an incredible achievement when you consider that this was well before the invention of microphones, when the only method of projecting the story to such a large gathering was simply the human voice, raw and unaided. As an actor myself who knows the size of this Hall, I truly appreciate how outstanding a feat that must have been.
Charles Dickens was a performer of consummate routine, a strict disciplinarian, who stuck to a rigid, if somewhat bizarre, routine, especially on performance days. For example he would begin with a breakfast of two tablespoons of rum flavoured with fresh cream, followed in the afternoon with a pint of champagne. Then half an hour before the start of his performance, he would drink a raw egg that had been beaten into a tumbler glass of sherry. During the interval he invariably consumed several cups of beef tea and always retired to bed with a bowl of soup.
If any actor today followed that course of events he’d be so woolly-headed before he got on stage he’d find himself incapable of standing let alone speaking this dense and wordy text.
Unfortunately there are only a few eye-witness accounts describing Dickens the actor, but from what one gathers he was fairly mesmerizing to watch, allowing each character to come alive through a variety of different voices and different facial settings ‘mouth comically twisted, eyes rolling, and eyebrows jiggering’; and all to great effect. As soon as Scrooge began to speak it was as if Dickens had disappeared; presenting instead an old man with a shrewd grating voice with a face drawn down into his collar like a great ageing turtle; his face becoming surly and sour. He bit his fingers, pointed with savage intensity, and rubbed his eyes in disbelief. It is reported that the audience fell into a kind of trance, as a universal feeling of joy seemed to invade the whole assembly.
Dickens described these performances like ‘an enormous top in full spin’. Sadly this whirling life would eventually destroy him. He became sick, weary and prematurely aged. The strain of the readings that took him around not only this country but vast areas of the States as well punctured the life out of him.
He began with A Christmas Carol and he ended with it. His last reading of the little book took place in London on March 15th, 1870. At the end of the performance he told his audience that ‘from these garish lights I vanish now for evermore, with a heartfelt, grateful, respectful, and affectionate farewell.’ There was a hush and then as his son recalled, ‘a storm of cheering as I have never seen equalled in my life.’
His head was bowed, and the tears were streaming down his face but still the cheering went on. Eventually Dickens raised his hands to his lips in a kiss and left the platform for ever. His son said that his father was deeply touched, but infinitely sad and broken. Charles Dickens was to die three months later at the age of 58.”
Clive Francis 2012.
Clive Francis first crossed paths with the character of Ebenezer Scrooge whilst playing the role in Ian Judge’s acclaimed Royal Shakespeare Company's production of A Christmas Carol at the Barbican Theatre in 1994 and 1995. He made his West End debut in 1966 opposite Donald Sinden in ‘There's A Girl In My Soup’ at the Globe Theatre and later at the Comedy Theatre, and a select number of credits since include ‘The Hypochondriac’ for the English Touring Theatre, ‘Tis Pity She's a Whore’ with Rupert Graves at the National Theatre, ‘Single Spies’ directed by Alan Bennett, ‘Gross Indecency’ with Michael Pennington, ‘Enteraining Mr Sloane’ opposite Alison Steadman, ‘The Dresser, Never So Good’ opposite Jeremy Irons at the National Theatre, ‘The Woman Hater’ at the Orange Tree, ‘Enron’ at the Noel Coward Theatre London and Gaiety Theatre Dublin and most recently ‘The Madness of King George III’ with David Haig in the West End.
His numerous television and film appearances include Saturday, Sunday Monday opposite Laurence Olivier and Joan Plowright, Entertaining Mr Sloane with Sheila Hancock, Decision to Burn with Anthony Hopkins, The Gathering Storm with Richard Burton and Virginia Mckenna, Caesar and Cleopatra opposite Richard Burton, As You Like It with Helen Mirren, Sharpe's Company with the late Pete Postlewaite, Masada with Peter O' Toole, The Far Pavilions with John Gielgud, Old Flames with Stephen Fry, Simon Callow and Miriam Margoyles, Longitude opposite Michael Gambon, David Copperfield with Ian McKellen and Joss Ackland, Lipstick On Your Collar opposite Ewan McGregor, Yes, Prime Minster, Quartermaine’s Terms, The Piglet Files, The 10%ers, New Tricks, Pierrepoint, The Queen and probably most famously playing John the lodger in A Clockwork Orange.
The Irish premier of Clive Francis's adaptation of A Christmas Carol is produced by the Irish actor Conor Sheridan and his company Granite Productions.
For more information please contact Producer Conor Sheridan - GRANITE PRODUCTIONS email@example.com
PERFORMANCE TOUR LISTINGS
Saturday 24th November Theatre Royal Waterford
Sunday 25th and Monday 26th November Everyman Palace Cork
021- 450 1673
Tuesday 27th November Mill Theatre Dundrum Dublin
Wednesday 28th November The Dock Carrick on Shannon
Friday 30th November Simsa Tire Theatre Tralee
Saturday 1st December Town Hall Theatre Galway
091 - 569777
Sunday 2nd December Hawkswell Theatre Sligo
071 - 9161518
Tuesday 4th December Glor Theatre Ennis
065 - 6843103
Wednesday 5th December Source Arts Centre Thurles
Thursday 6th December Mermaid Arts Centre Bray Wicklow
Friday 7th December Draiocht Blanchardstown
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Tuesday 11th - Sunday 16th December
St James Theatre Studio London
Thur 20th December - Monday 31st Dec
Mill Studio Yvonne Arnaud Theatre Guildford
Sunday 23rd December Town Hall
Thurs 4th/Fri 5th Jan
Ustinov Space Theatre Royal Bath
October 22, 2012
We caught up with Actor Rebecca Vaughan, who is just about to embark on an Irish Tour with her solo show ‘I, Elizabeth’, coming to Draiocht on Thursday 8th November, 8pm, Tickets: 18/14e conc are available from Draiocht’s Box Office, tel 01-885 2622 or online: www.draiocht.ie
I, ELIZABETH – An interview with Rebecca Vaughan
When did you first become interested in Elizabeth I?
I think she’s always been an interesting figure to me, even from primary school where I learned about the Tudor monarchs. Here were stories you couldn’t make up: truth was weirder than fiction – Henry VIII with 6 wives, and Elizabeth who reigned for 44 years and never married. There are so few really striking women in the history books, so she really stands out, warts and all!
How did the show come about?
I had just finished the Edinburgh run of my first one woman show – AUSTEN’S WOMEN, and had completely fallen in love with the idea of solo shows, and so was looking to write another one. I was in the library looking for a book which I couldn’t find. I finished off on my hands and knees looking for it under the bookshelf. It turned out not to be the book I was looking for, but rather “Elizabeth I: Collected Works”. I thought, hang on – I never knew Elizabeth I wrote stuff! So, intrigued, I got it out of the library. It turned out to be a collection of her letters, speeches, poetry and prayers, and what really interested me was the younger Elizabeth was very different to the strong ‘Gloriana’ leader we know of her later life. It seems that until she was about 35 she was quite insecure and vulnerable, and sometimes doubted her abilities as queen. I was interested in the idea of seeing if I could put together a show using only her own words to create something that is as close as possible to who she was. I really wanted to show where she got things wrong, all her flaws, as well as her many strengths. And thus, I, ELIZABETH was born!
What have you learned about Elizabeth from your research and creating the show?
In addition to her insecurities and vulnerabilities, I learned what a solitary life it really was, especially for her as a woman. Everyone she came into contact with had their own agenda, even her closest counselors, so she could never really trust anyone. Many of the bad decisions she made were often on account of trusting the wrong people, as well as her being a procrastinator. She really was a terrible procrastinator – and often hoped that things would work themselves out on their own (which of course, often didn’t happen!). This was one of her biggest flaws. But I think Elizabeth the woman was always trying to break free, but Elizabeth the Queen always had to win.
How far have you toured the show?
As well as touring the UK and Ireland, the show has toured to the US and Australia, and will be hopefully doing a tour of all the Ivy League Universities in America next Autumn. There seems to still be so much interest in her both as a woman and a queen.
You brought a previous show AUSTEN’S WOMEN to Draiocht – do you like the solo show format?
Absolutely love it! I’d been a ‘normal’ actor for about 10 years, and then when I got involved in creating AUSTEN’S WOMEN I realised that this is what I adore, and why I became an actor. To have such an intimacy with an audience is just wonderful and really takes both the performer and the audience back to what theatre is really about – sitting in a dark room and hearing a story told. As an actor, I find it far more fulfilling than being in large productions in huge theatres where the audience seem miles away and are often not drawn into the story being told on stage.
What are your forthcoming plans?
Well, we (Dyad Productions) have just premiered our newest show FEMALE GOTHIC at the Edinburgh Festival and it went down a storm! Its Victorian tales of the macabre and ghost stories written by women, and it seems that people really do have a taste for that genre – we love to be scared, just a little! And these Victorian stories really ignite the imagination, and I love performing the show! This will start touring in January, and will tour to Ireland in February. However, there are so many Irish venues that are interested in the show that we will be bringing it back again next autumn! We are also touring our other show – a two hander – THE DIARIES OF ADAM AND EVE – to Ireland next January. The show is a relationship comedy and uses the idea of the first man and the first woman and asks – how is it possible that men and women have ever made it work! And it’s so much fun to share the stage with another person after doing all these solo shows!
BOOK TICKETS ONLINE NOW ... OR PHONE BOX OFFICE ON 01-8852622
October 12, 2012
The Music Man, one of the most successful Hollywood musicals, of all time, will come marching into Draíocht Blanchardstown for a five night run commencing on Tuesday 23 October 2012 at 8.00pm.
The Music Man has not been seen on the Dublin stage for quite some years.
An all star cast lead by multiple AIMS (Association of Irish Musical Societies) award winning northside actor Michael Evans, in the title role, Professor Harold Hill, will be joined by award winning Jean Sweeney, Baldoyle and Blanchardstown (as Marion Peroo); Valerie Andrews, Ballinteer (as Mrs Peroo), John Furlong, Blanchardstown (as Mayor Shinn), Siobhán 0’Sullivan, Phibsboro (as Mrs Shinn) who together with Will Burke (as Marcellus Washburn) and an experienced cast of forty singers and dancers from all over the city suburbs and beyond will bring Meredith Wilson’s colourful musical, set in River City Iowa, to life. The Music Man also has seventeen children in the cast and an orchestra of eleven people.
Ten year old Adam Doherty, from Donaghmede, a fifth class pupil at St. Brigid’s Boys National School, Killester, and son of Eithne and Paul Doherty, will play the important role of Winthrop in The Music Man. Adam is a student of FACT school of performing arts, under the direction of northsider Sean Gilligan. Adam has already appeared in the sell-out musical, The Snowman at the Bord Gáis Energy Theatre here in Dublin and at the University Concert Hall, Limerick. Adam has also appeared in Annie Jnr, the musical, at the Helix Theatre and in Cinderella at the Castle, in Clontarf Castle.
Rehearsals in full swing!
Jack Carolan, Dunboyne, who is already making a name for himself in stage musicals plays Tommy Djilas, Lauren Murphy from Skryne, Co Meath plays Amaryllis and sister Lucy plays Zaneeta and Alice Hunter, Marino (Gracie Shinn).
Rehearsals in full swing!
The Music Man, by Meredith Willson, with timeless classic numbers Seventy-Six Trombones, Ya Got Trouble, The Wells Fargo Wagon, Goodnight My Someone and Till There Was You is directed by Philippa Alford. The musical director is Yvonne McQuillan and award winning choreographer Orla Savage is responsible for the choreography. The colourful stage settings are by award winning set designer Richard Levins.
Rehearsals in full swing!
The Music Man is presented at Draíocht Blanchardstown by The Pioneer Musical Society, for Pioneer Club members and friends. The Pioneer Musical Society is one of the longest established musical societies in the country. The society will be well known for staging spectacular musicals and pantomimes, with high production values, at their former home St. Francis Xavier Hall, Upper Sherrard Street, in the city, for many years. In recent years the society has staged many successful musicals at Draíocht, including South Pacific, Calamity Jane, The Hot Mikado, Crazy for You and Fiddler on the Roof.
Rehearsals in full swing!
The Music Man is now booking at Draíocht Box Office 01 885 2622 Monday to Saturday 10am to 6.00pm.
Tickets €15.00 (Tuesday) and €18.00 (Wednesday to Saturday) may also be booked, at any time, online at www.draiocht.ie
BOOK TICKETS NOW ONLINE ... OR PHONE 01-8852622 ...
The film of The Music Man premiered in 1962 and starred Robert Preston, as The Music Man and Shirley Jones, of Oklahoma! and Carousel fame, as Marion Peroo and Buddy Hackett, Paul Ford, Hermione Gingold.
Rehearsals in full swing!
The Chairperson of the Pioneer Musical Society for Pioneer Club Members and Friends is Mary O’Reilly.
Any further information from: P.J.Kelly, FPRII, MMII. Pioneer Musical Society, Tel: 087 769 0997
Rehearsals in full swing!