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6 episodes with Frank McGuinness
9 episodes with Frank McGuinness
3 episodes with Frank McGuinness
9 episodes with Frank McGuinness
2 episodes with Frank McGuinness
2 episodes with Frank McGuinness
2 episodes with Frank McGuinness
Playwright, poet and author, Frank McGuinness, brought Brendan through his Life in Five Songs – the music that has shaped him. Frank's choices included Otis Reading, Joni Mitchell, Lisa O'Neill, and also The Beatles' I Wanna Hold Your Hand.
Gregg T. Daniel is best known for his recurring role as David Carter in HBO's show Insecure. In addition, he plays Reverend Daniels on another one of HBO's hit shows True Blood. With over 100 credits in film and television, Gregg's roles span the spectrum from comedy (I Am Not Okay With This) to drama (Insecure) to procedurals (911, Grey's Anatomy), science fiction (Star Trek: Voyager) and children's shows (Austin & Ally, Kickin' It). Big screen credits include Spiderman 3, 7th & Union, and Truth Or Dare. Gregg recurred on HBO's Insecure and starred in the award-winning film 7th And Union. Currently, he is set to be in the upcoming sequel of Joker, Joker: Folie à Deux. Gregg is a very accomplished theater director. He is a founding member and Artistic Director of the Los Angeles-based Lower Depth Theatre Ensemble. He was nominated for a 2013 NAACP Image Award for helming the Los Angeles production of “Kwame Kwei-Armah's Elmina's Kitchen”, also winning the NAACP Award for Best Ensemble for 2013. In addition, he has directed three August Wilson Plays. Prior, his stage direction included 2009's acclaimed production of Tom Stoppard's “Heroes”, Sybyl Walker's “Beneath Rippling Waters”, Lee Blessing's “Cobb”, and Frank McGuinness's “Someone Who'll Watch Over Me”. Gregg also directed Pulitzer Prize-winning author August Wilson's “Seven Guitars” For Theatre 150 in Ojai, California, he directed Athol Fugards' “Sizwe Bansi”, Diana Son's “Stop Kiss”, and the 2004 Pulitzer Prize winner, “I Am My Own Wife by Doug Wright”. Gregg has also directed and acted in various theater productions including, “Hamlet”, “Radio Golf”, and “Les Blancs”. He recently directed his fourth August Wilson play, "King Hedley II," at A Noise Within Theatre and is set to direct his fifth. This marks the halfway mark through the playwright's ten-play cycle. @stagelync Thank you to our sponsor @clear-com The StageLync Podcast is a branch of our larger StageLync Community. Come visit us at www.stagelync.com
Gregg T. Daniel is best known for his recurring role as David Carter in HBO's show Insecure. In addition, he plays Reverend Daniels on another one of HBO's hit shows True Blood. With over 100 credits in film and television, Gregg's roles span the spectrum from comedy (I Am Not Okay With This) to drama (Insecure) to procedurals (911, Grey's Anatomy), science fiction (Star Trek: Voyager) and children's shows (Austin & Ally, Kickin' It). Big screen credits include Spiderman 3, 7th & Union, and Truth Or Dare. Gregg recurred on HBO's Insecure and starred in the award-winning film 7th And Union. Currently, he is set to be in the upcoming sequel of Joker, Joker: Folie à Deux. Gregg is a very accomplished theater director. He is a founding member and Artistic Director of the Los Angeles-based Lower Depth Theatre Ensemble. He was nominated for a 2013 NAACP Image Award for helming the Los Angeles production of “Kwame Kwei-Armah's Elmina's Kitchen”, also winning the NAACP Award for Best Ensemble for 2013. In addition, he has directed three August Wilson Plays. Prior, his stage direction included 2009's acclaimed production of Tom Stoppard's “Heroes”, Sybyl Walker's “Beneath Rippling Waters”, Lee Blessing's “Cobb”, and Frank McGuinness's “Someone Who'll Watch Over Me”. Gregg also directed Pulitzer Prize-winning author August Wilson's “Seven Guitars” For Theatre 150 in Ojai, California, he directed Athol Fugards' “Sizwe Bansi”, Diana Son's “Stop Kiss”, and the 2004 Pulitzer Prize winner, “I Am My Own Wife by Doug Wright”. Gregg has also directed and acted in various theater productions including, “Hamlet”, “Radio Golf”, and “Les Blancs”. He recently directed his fourth August Wilson play, "King Hedley II," at A Noise Within Theatre and is set to direct his fifth. This marks the halfway mark through the playwright's ten-play cycle. “ATTENTION SPOTIFY LISTENERS: IF you want to WATCH this with VIDEO, you can also subscribe to our video version: https://open.spotify.com/show/5e9KnBRZdjUTXTvCe6Nrqm?si=6639537c61044396” @stagelync Thank you to our sponsor @clear-com The StageLync Podcast is a branch of our larger StageLync Community. Come visit us at www.stagelync.com
As part of the run of our new production of Moliere's Tartuffe, we initiated a series of post-show discussions on themes emerging from the new version of the play by Frank McGuinness. The discussions focussed on the origins of these themes in the play and broadened out to encompass reflections on their relevance for Ireland in the past and the present. Our first talk covered Me Too: confronting patriarchy and sexual oppression. For this talk, curator Catriona Crowe was joined on stage by Irish Times writer and columnist Roisin Ingle and Consent Project Manager with Dublin Rape Crisis Centre Sarah Monaghan. They discussed the recent Waking the Feminists campaign - how have we done since the campaign was first launched back in 2015 and is there more to be done? The panel also explored if toxic masculinity is a response to women's attempts to defeat sexual oppression. Facebook - @AbbeyTheatreDublin Instagram - @AbbeyTheatreDublin Twitter - @AbbeyTheatre
As part of the run of our new production of Moliere's Tartuffe, we initiated a series of post-show discussions on themes emerging from the new version of the play by Frank McGuinness. The discussions focussed on the origins of these themes in the play and broadened out to encompass reflections on their relevance for Ireland in the past and the present. Our second talk covered Me Too: confronting patriarchy and sexual oppression. This conversation was explored by curator Catriona Crowe along with journalist and novelist Gene Kerrigan and journalist and writer Caelainn Hogan. In their talk they examined hypocrisy, trying to answer the question if it's part of the Irish system of elision of difficult things. Facebook - @AbbeyTheatreDublin Instagram - @AbbeyTheatreDublin Twitter - @AbbeyTheatre
Frank McGuinness reads his poem 'Buncrana, Christmas Eve'
Miriam chats with acclaimed playwright Frank about his early life growing up in Buncrana and how he decided to become a writer. His latest play 'Dinner With Groucho' will premiere at the upcoming Dublin Theatre Festival
Meryl Streep and The Movies with Zachary Scot Johnson and Maryl McNally
Longtime friends and Meryl Streep fans Zachary Scot Johnson ( http://www.youtube.com/user/thesongadayproject/about ) and Maryl McNally discuss Meryl Streep's 1998 film "Dancing At Lughnasa"."Dancing At Lughnasa" co-stars Michael Gambon, Catherine McCormack, Kathy Burke, Sophie Thompson, Brid Brennan, Rhys Ifans and more. It is directed by Pat O'Connor and has a screenplay by Frank McGuinness, based on the play by Brian Friel.Discussion of "Dancing At Lughnasa" begins around the 52 minute mark.Email the hosts at MerylStreepPodcast@gmail.com and remember to rate, review and subscribe to the podcast if you enjoy!Zach's ranking of Meryl's performances1. sophie's choice2. silkwood3. postcards from the edge4. the post5. big little lies season 26. julie and julia7. the hours8. devil wears prada9. a cry in the dark10. don't look up11. adaptation12. the bridges of madison county13. kramer vs kramer14. manchurian candidate15. into the woods16. let them all talk17. the laundromat18. the river wild19. doubt20. music of the heart21. it's complicated22. ricki and the flash23. mamma mia 224. florence foster jenkins25. out of africa26. death becomes her27. the prom28. prime29. a prairie home companion30. ironweed31. deer hunter32. mamma mia 33. falling in love34. plenty35. little women36. defending your life37. heartburn38. first do no harm39. still of the night40. before and after41. she-devil42. suffragette43. mary poppins returns44. evening45. house of the spirits46. the homesman47. manhattan48. juliaZach's ranking of Meryl's films1. the post2. the hours3. silkwood4. don't look up5. little women6. kramer vs kramer7. adaptation8. sophie's choice9. out of africa10. the deer hunter11. doubt 12. big little lies season 213. into the woods14. the bridges of madison county15. a cry in the dark16. let them all talk17. the laundromat18. postcards from the edge19. julie and julia20. the devil wears prada21. it's complicated22. mary poppins returns23. the prom24. the river wild25. manchurian candidate26. music of the heart27. death becomes her28. suffragette29. a prairie home companion30. prime31. falling in love32. ironweed33. ricki and the flash34. florence foster jenkins35. defending your life36. plenty37. manhattan38. mamma mia39. evening40. heartburn41. still of the night42. mamma mia 243. first do no harm44. she-devil45. julia46. the homesman47. house of the spirits48. before and afterMaryl's ranking of Meryl's performances1. the post2. julie and julia3. devil wears prada4. postcards from the edge5. adaptation6. big little lies season 27. out of africa8. kramer vs kramer9. the hours10. manchurian candidate11. river wild12. mamma mia 213. florence foster jenkins14. mamma mia15. silkwood16. music of the heart17. into the woods18. it's complicated19. little women20. heartburn21. deer hunter22. death becomes her23. ricki & the flash24. doubt25. first do no harm26. she-devil27. the laundromat28. house of the spirits29. mary poppins returns30. defending your life31. manhattan32. before and after33. still of the night34. julia35. the homesmanMaryl's ranking of Meryl's films1. the hours2. little women3. postcards from the edge4. kramer vs kramer5. the post6. adaptation7. florence foster jenkins8. doubt9. silkwood10. out of africa11. the deer hunter12. big little lies season 213. devil wears prada14. mamma mia 15. mary poppins returns16. into the woods17. julie & julia18. mamma mia 219. river wild20. manchurian candidate21. it's complicated22. death becomes her23 music of the heart24. defending your25. the laundromat26. house of the spirits27. heartburn28. first do no harm29. ricki & the flash30. julia31. she-devil32. still of the night33. before and after34. the homesman35. manhattan
Gregg Daniel talks about his time on "True Blood", working on "Insecure", his new film "7th & Union", a truly heartbreaking audition mishap, and shares some wonderful advice every actor should hear!About Gregg Daniel:Gregg T. Daniel is best known for his role as Reverend Daniels on HBO’s hit show True Blood. With over 100 credits in film and television, Gregg’s roles span the spectrum from comedy (Curb Your Enthusiasm, Weeds) to drama (The West Wing, Castle, Desperate Housewives) to procedurals (NCIS), science fiction (Star Trek: Voyager) and children’s shows (Austin & Ally, Kickin’ It). Big screen credits include Spiderman 3, Hancock, Mars Attacks, Evan Almighty, Pump Up The Volume, and White Men Can’t Jump. Currently, Gregg is recurring on HBO’s Insecure and stars in the upcoming film 7th And Union.An accomplished theatre director, Gregg is the Artistic Director of the Los Angeles-based Lower Depth Theatre Ensemble, and was nominated for a 2013 NAACP Image Award for helming the Los Angeles production of Kwame Kwei-Armah’s Elmina’s Kitchen, which also won the NAACP Award for Best Ensemble for 2103. Prior to that, his stage direction included 2009’s acclaimed production of Tom Stoppard’s Heroes, Sybyl Walker’s Beneath Rippling Waters, Lee Blessing’s Cobb, and Frank McGuinness’s Someone Who’ll Watch Over Me. Gregg also directed the world premiere of solo performance artist Joyce Guy’s War Stories at the Los Angeles Theatre Center and at St. Mark’s Church in New York. For Theatre 150 in Ojai, California, he directed Athol Fugards’ Sizwe Bansi, Diana Son’s Stop Kiss, and the 2004 Pulitzer Prize winner, I Am My Own Wife by Doug Wright.Twitter: @RealGreggDanielInstagram: @officialgreggdaniel
The Visiting Hour from Frank McGuinness opened online at the Gate Theatre in Dublin last night, Chris Morash reviews, Edmund de Waal is an internationally acclaimed artist & author, his new book is 'Letters to Camondo', Éamon Sweeney & Siobhán Kane review the latest albums from Tom Jones to Field Music & Susan Quirke.
Sinéad Crowley, Arts and Media Correspondent, reports on how The Gate Theatre in Dublin is set to stream Frank McGuinness' new play 'The Visiting Hour' next week.
U2’s virtual tour is on YouTube, U2 aficionado Pat Carty revisits U2 live, The Gate Theatre Director Selina Cartmell on a new programme, The Visiting Hour is a drama by Frank McGuinness, April 22-25, gatetheatre.ie , John Self on Virginia Woolf one of the most important writers of the 20th century, Helen Meany reviews The Picture of Dorian Gray.
Members of Woodberry Forest's Drama and Speech Department discuss the challenges of pivoting from live performance to a radio podcast of their upcoming productions: Someone Who'll Watch Over Me by Frank McGuinness, premiering Thursday, April 30 right here on Voices of Woodberry, and William Shakespeare's A Midsummer Night's Dream, Thursday, May 14, 2020.Please subscribe to future podcasts, and follow us on Facebook. www.facebook.com/WFSDDwww.twitter.com/WFSDramaDeptwww.instagram.com/tigersonstage
As an accomplished theatre director, Gregg is the Artistic Director of the Los Angeles-based Lower Depth Theatre Ensemble, and was nominated for a 2013 NAACP Image Award for helming the Los Angeles production of Elmina's Kitchen, which also won the NAACP Award for Best Ensemble for 2103. Prior to that, his stage direction included 2009's acclaimed production of Tom Stoppard's Heroes, Sybyl Walker's Beneath Rippling Waters, Lee Blessing's Cobb, and Frank McGuinness's Someone Who'll Watch Over Me.Gregg also directed the world premiere of solo performance artist Joyce Guy's War Stories at the Los Angeles Theatre Center and at St. Mark's Church in New York. For Theatre 150 in Ojai, California, he directed Athol Fugards' Sizwe Bansi, Diana Son's Stop Kiss, and the 2004 Pulitzer Prize winner, I Am My Own Wife by Doug Wright. A trained theatre actor from NYU's Tisch School of the Arts, Gregg's stage acting credits Shakespeare Center of L.A.'s production of Romeo & Juliet, the Williamstown Theatre Festival productions of Back Country Crimes, and Gogol, The Mark Taper Forum's Joe Turner's Come and Gone, the Pasadena Playhouse's Jitney, Actors Theatre of Louisville's Master Harold, Hartford Stage Company's Peer Gynt, and South Coast Repertory's Fences, and Death Of A Salesman.In this episode we discuss the concepts of acting, how its an ever evolving process, and if there is anything else in life you want to do besides acting, do that. We covered these topics and much more!
A fresh look at the ancient world. Natalie Haynes, critic, writer and reformed stand-up comedian, brings the ancient world entertainingly up to date. In each of the four programmes she profiles a figure from ancient Greece or Rome and creates a stand-up routine around them. She then goes in search of the links which make the ancient world still very relevant in the 21st century. Episode 2: Sophocles invents modern drama with Oedipus the King. Spoiler alert! – it doesn't end well. This episode includes handy hints on how to get in the mood for a classical tragedy (bring a bottle.) With Professor Edith Hall, poet and playwright Frank McGuinness and TV critic Andrew Collins. Producer Christine Hall First broadcast on BBC Radio 4 in 2014.
A stunning new reading of Oscar Wilde's De Profundis (adapted by Frank McGuinness, from the stage production directed by Mark Rosenblatt) and The Ballad of Reading Gaol, performed by one of Britain's greatest actors.
Anne Griffin began writing in 2013, and in 2015 undertook an MA in Creative Writing in UCD studying under James Ryan, Éilis Ní Dhuibhne, Frank McGuinness, Lia Mills, Paul Perry and Anne Enright.
Anne Griffin began writing in 2013, and in 2015 undertook an MA in Creative Writing in UCD studying under James Ryan, Éilis Ní Dhuibhne, Frank McGuinness, Lia Mills, Paul Perry and Anne Enright.
Following her landmark court case win during the week about her cervical cancer screening, Miriam talks to Limerick woman Ruth Morrissey Plus one of our greatest writers, Frank McGuinness, will be here to talk about a life of words & we'll hear some of the poetry / music which he loves. Great live music from the wonderful Colm Mac Con Iomaire.
Áine trained as an actress at the BA in Acting Studies,The Samuel Beckett Centre, Trinity College and as a screen actor at Bow Street. Áine most recently appeared in it’s getting harder and harder for me (Alice Malseed/Sarah Baxter) at The Mac in Belfast. She also appeared in Neon Western from Conflicted Theatre at Cork Midsummer Festival and Dublin Fringe Festival. She has appeared in numerous theatre productions of late. She starred in The Abbey Theatre’s one women show Mise, Mollser based on Sean O’Casey’s The Plough and The Stars. Other roles include Rebecca in Frank McGuinness’s Factory Girls for The Everyman Theatre and Zoe in Zoe’s Play at The Ark. Her screen credits include the upcoming webseries Long Dark Twenties, Ripper Street (BBC) Ros na Run (TG4) Standby (Rob Burke/Ronan Burke) Baróg Béir/Free Hugs (Gavin Fitzgerald), Live (Harbour Films), and Jane By the Sea ( Zanzibar Production ) As a voice-over artist, Áine regularly provides various character voices for Macalla Teo, and TG4. Shows include Dude, cá bhfuil mo phúca?, Dot and Peg Agus Chat among others. She also recently lent her voice to the Irish language version of Oscar nominated cartoon The Breadwinner by Cartoon Saloon. As a dancer/performer Áine has collaborated with Amanda Coogan on her RHA show I’ll Sing You A Song From Around The Town, dancer Meagan O’Shea (International Associate Artist, Dance House) and visual artist Ella De Búrca, most notably in Exercises for Seeing Stars #3 at the Vienna Art Fair.
Father and daughter join Joey to chat about their upcoming reading of Frank McGuinness' play Someone Who'll Watch Over Me at the Cloverdale Playhouse and much more!
Reading the Short Stories of Eilis Ni Dhuibhne', a panel from a UCD symposium dedicated to Ni Dhuibhne's work.
Reading the Short Stories of Eilis Ni Dhuibhne', a panel from a UCD symposium dedicated to Ni Dhuibhne's work.
Happy New Year to all out listeners. To celebrate the end of 2016, we've asked some of our regular contributors to pick a cultural high points from the year that saw so many low points in world affairs. Featuring: - Denis Staunton on Glenda Jackson's performance as King Lear - Lara Marlowe on a battlefield production of Frank McGuinness's Observe the Sons of Ulster Marching Towards the Somme - Derek Scally on Markings, the late UN secretary general Dag Hammarskjöld's book of personal reflections. We hope you enjoy it. We'll return with our regular analysis next week.
Greek and Roman Drama - Theatre History and Modern Performance (APGRD Public Lectures)
Acclaimed playwright Frank McGuinness talks with Fiona Macintosh about his work adapting Greek tragedies for modern theatre, particularly Antigone and Medea.
Frank McGuinness and Sean McGinley give a profound interview on Today with Sean O’Rourke on RTE 1 ahead of the opening of Observe the Sons of Ulster Marching Towards the Somme.
Wrong Crowd is Tom Odell's second album, the follow-up to his number one album Long Way Down. The singer-songwriter talks about avoiding writing about luxury hotel rooms since his success, and drawing more on childhood memories for inspiration.The structural engineer Ove Arup is the subject of a new exhibition at the V&A in London. The co-curators discuss the work of the philosopher and designer, who was responsible for the construction of a number of high-profile buildings including the Penguin Pool at London Zoo and Sydney Opera House.July marks the hundredth anniversary of the first day of the Battle of the Somme. It's an event that playwrights have often grappled with and there are three plays on stage now; Frank McGuinness's Observe the Sons of Ulster Marching Towards the Somme, Furious Folly, an immersive, outdoor piece, co-created by Mark Anderson, and First Light which tells the story through the lives of two young soldiers shot at dawn for deserting. The writers and directors explain how they approached this the bloodiest battle in history. Presenter: John Wilson Producer: Angie Nehring.
'A Portrait of the Artist as a Young Man' by James Joyce on the eve of its publication centenary with Éilis Ní Dhuibne, Anne Enright, Frank McGuinness, Anne Fogarty and Luke Gibbons with readings by Barry McGovern from hte RTÉ archives..
Libby Purves meets musician Richard Thompson; writer and broadcaster Peter York; Julie Nicholson - whose daughter Jenny was killed during the 7/7 attacks - and novelist Toby Clements. Peter York is an author, broadcaster and management consultant. His show How To Become A Nicer Type Of Person is at the Edinburgh Festival Fringe. It's his personal guide to navigating modern life from what to say, what to think to what to wear - he's definitely not fond of what he calls "sports-derived clothing." He also forbids the use of specific words such as passionate, creative, transparent and journey. How To Become A Nicer Type Of Person is at the Assembly George Square Studios, Edinburgh. Former vicar Julie Nicholson's daughter Jenny was killed after a bomb exploded at Edgware Road Underground station on July 7th 2005. Julie's book A Song for Jenny has been adapted into a factual drama by Frank McGuinness with Emily Watson as Julie. The film chronicles the impact of the 7/7 bombings on Julie's life and those around her. It is an unflinching account of grief and how she was unable to find solace in her faith. A Song For Jenny is broadcast on BBC One. Richard Thompson OBE is a musician and songwriter who co-founded Fairport Convention. His new album, Still, features musical references to Django Reinhardt, Les Paul and Hank Marvin. The Americana Music Association recently honoured him with a Lifetime Achievement Award for Songwriting. Robert Plant, REM, Elvis Costello, Bonnie Raitt and many others have recorded Richard's songs. Still is released on Proper Records. Richard Thompson is touring the UK. Toby Clements is the author of the novel Kingmaker: Broken Faith, the second in his trilogy set against the Wars of the Roses. He became obsessed with this period of history after a school trip to Tewkesbury Abbey where he learned about the Battle of Tewkesbury in 1471 when forces loyal to the House of Lancaster were defeated by the House of York under King Edward IV. During the course of his research Toby learned to use the longbow and fight with the poll axe and how to start a fire with a flint. Kingmaker Broken Faith is published by Century. Producer: Paula McGinley.
Kristin Scott Thomas plays the title role in Electra at The Old Vic. It's a millennia old play in a modern translation by Frank McGuinness and directed by Ian Rickson. David Fincher's film version of Gillian Flynn's best seller Gone Girl stars Ben Affleck and Rosamund Pike. Howard Jacobson's Booker-nominated novel J imagines a dystopian world where a Holocaust-type event might happen again. Gothic Imagination at The British Library explores 250 years of a public predilection for horror and terror. BBC4's new Australian drama The Code deals with a corrupt government dealing ruthlessly with cyber skulduggery. Tom Sutcliffe's guests are Stephanie Merritt, Dea Birkett and Sarfraz Manzoor. The producer is Oliver Jones.
Bob Wilcox and Gerry Kowarsky review (1) 27, by Ricky Ian Gordon & Royce Vavrek, at Opera Theatre of St. Louis; (2) LOVE! VALOUR! COMPASSION!, by Terrence McNally, at Stray Dog Theatre; (3) DIALOGUES OF THE CARMELITES, by Francis Poulenc, at Opera Theatre of St. Louis; (4) SOMEONE WHO'LL WATCH OVER ME, by Frank McGuinness, at R-S Theatrics; (5) BILLY ELLIOT THE MUSICAL, by Lee Hall & Elton John, at The Muny; and (6) DISNEY'S SLEEPING BEAUTY, by Marcy Heisler, Pyotr Ilyich Tchaikovsky, et al., at Stages St. Louis.
Anne McElvoy talks to the poet Simon Armitage about his dramatisation of The Last Days of Troy. His play, based on Homer's epic, reveals how cycles of conflict and revenge, pride and self-deception continue throughout history. Greek myth is at the heart of a new opera, Thebans, in which the playwright and poet Frank McGuinness draws on the tragedy of the mythical monarch Oedipus and his daughter Antigone. Natalie Haynes explores what happens when troubled teenagers become enthralled by Greek tales of cruel fate and bloody revenge in her debut novel, while Kenan Malik goes on a quest for a moral compass. Producer: Katy Hickman.
ENO presents the world-premiere of Thebans from the prize-winning composer Julian Anderson and his librettist, the distinguished playwright Frank McGuinness. This compelling re-telling of Sophocles’ timeless Theban tragedies focuses on the fate of Oedipus and his daughter Antigone. Hosted by BBC journalist Tom Service, this panel discussion features Julian Anderson, Frank McGuinness, director Pierre Audi and ENO Music Director Edward Gardner talking about bringing this new work to the stage. Thebans opens on 3 May 2014 and runs for 7 performances. All tickets £5-£60. http://www.eno.org/thebans
Prof. Frank McGuinness and Dr. Rebecca Pelan discuss 'Strange Meetings In The Theatre Of Memory' at The Theatre of Memory Symposium at the Abbey Theatre. [18 January 2014]
We continue our series looking at some of the Playwrights currently writing for Irish Theatre. Tonight we focus on Frank McGuinness. Sean Rocks presents Playwrights in Profile:
Amid the chatter and the buzz of the room, I discreetly asked my friend ‘any sign of him?'. ‘Nah, he's not coming' was the reply. The elusive Brian Friel was nowhere to be seen. The setting was the Backroom bar of McGrory's of Culdaff in north Donegal at the commencement of the 24th Charles Macklin autumn school, an annual arts festival paying tribute to a local 18th century actor/playwright who achieved great success on the London stage and died aged close to 107. Friel's 'The London Vertigo' was a reworking of Macklin's original play. The opening event was a book launch and its author, Sean Beattie, referred to Brian Friel by stating that the playwright had been good enough to have attended the first Macklin festival, eventually becoming its patron. ‘He usually makes an appearance at some stage over the weekend' said Sean sheepishly alluding to the fact that Friel was still nowhere to be seen. Friel hadn't been seen at his friend Seamus Heaney's funeral in Dublin, nor at the MacGill Summer school in Glenties which he never misses. At 83 and in poor health, it looked as if the man had the good sense to stay put and get an early night. A break in the formalities allowed more chat and some of Sean's books to be sold and signed to the sounds of a local traditional group of musicians. At the recommencement, I looked around the room and there he was right in front of me. Looking frail and older than I'd remembered him, Friel sat across the room with his wife Ann, listening to the speeches. The first speaker ironically told the story of a woman who talked for longer than she should have at a theatre launch in Greencastle some years back. She talked about John Hume being on a mobile phone to a man named Bill beside her as that longwinded speech took place. Once off the phone, she asked Hume who that guy was – ‘Bill Clinton' he responded ‘I should have put you on to him for the craic' he added for good measure. ‘That was when I nearly became very famous!' she declared and the crowd gave her a faint laugh at this tenuous aimless tale. Friel sat stoney-faced. I enjoyed his honesty – it was a dire story. Friel didn't have to be there. It was very much a courtesy to the organisers. He had travelled from Greencastle as he always had on the opening night without fail for 24 years. The speeches carried on and Friel combined listening to them with reading the copy of Sean's book he had on his lap. More references were made to Friel and even a round of applause was offered at one point. Friel carried on reading, oblivious to it all. Just like Philadelphia's Gar, there is a public and a private persona at play here. In private, Friel is renowned as a great wit, full of stories and gossip and fun. In public, he runs a wary gauntlet, unsure of who will accost him or put him straight on how he should have done such and such. The playwright has never enjoyed the limelight, nor is he prone to speeches, interviews or indulging in the fame game. His craft has made him world famous. Much and all as I'd always hoped he would win the Nobel Prize, I'm glad he hadn't that day. Instead, new Nobel Laureate Alice Ann Munro was being harangued in Canada by the media frenzy while Friel was able to keep a long-standing appointment in Culdaff. Outside for some air, I heard the name-dropping earlier speaker telling the young publisher that she knew Friel well and would he like her to introduce him to the playwright. Back inside, the last of the great Irish writers sat quietly after the speeches catching up with some well wishers he knew. My friend who had known him for years went to chat to him about Frank McGuinness's new play on in Dublin for the Theatre Festival. The poker face had given way to animation about his fellow playwright and anecdotes galore. Health prevented him from getting around so hearing about what was going on in the Big Smoke was a real treat. My same friend had met him up in Malin Head the day after Heaney had died. Friel ...
Award-winning playwright and poet Frank McGuinness discusses his career with Dr. Noreen Doody, Head of Department of English, St Patrick’s College. [November 2010]
This is a workpack for the 2008 production of Oedipus, in a new translation by Frank McGuinness. Included in this pack is a synopsis, an overview of Sophocles and a look at the theatre of Ancient Greece.
Actors Morgan Crowley, Muiris Crowley and Aileen Mythen star in our festive production of James Joyce's The Dead. They took some time out after opening night to chat about the play. Hear about how they brought the Joycean characters to life, what it's like to make an Abbey Theatre debut and the musical side of this dramatisation. The Dead, by James Joyce, in a dramatisation by Frank McGuinness, runs on the Abbey stage from 5 December to 19 January. Tickets are available at www.abbeytheatre.ie/whats_on/event/the-dead
UCD Centre for the History of Medicine in Ireland: Talks and Events
This episode features the renowned playwright and poet Frank McGuinness who gave a paper entitled “Living With Mortality: A Short Stay in Switzerland” on February 25th 2010 in the Humanities Institute of Ireland, UCD. Frank spoke about the issue of mortality as treated in drama from Greek theatre to contemporary work, including his adaptation of […] The post Frank McGuinness. Living With Mortality. A Short Stay in Switzerland appeared first on CHOMI MEDIA.
Actor Jim Norton, Tony and Olivier Award winner for The Seafarer and now on Broadway in the notably sunnier current revival of Finian's Rainbow, discusses how the Irish view that Irish-inflected musical; how he wasn't entirely unprepared to appear in a musical, even though he's done extremely few in a 50 year career (despite an early appearance as Lt. Cable in South Pacific); and why appearing in a Broadway musical is unlike anything he's ever done before. He also takes us through his days as a child actor on radio; his emergence in the Irish theatre community in the 1960s and his subsequent decision to move to London at the decade's end, resulting in an exile from the Irish stage that would last 18 years; his quick discovery in London by noted director Lindsay Anderson; why he worked to keep the English theatre community from thinking of him as an Irish actor; why he made his American stage debut in California; how difficult he found it to perform in The Pillowman; what it was like to perform in The Weir in a variety of countries and venues; and his extensive work with a group of major playwrights over his career, including David Storey, Alan Ayckbourn, Tom Murphy, Sebastian Barry, Frank McGuinness and most notably, Conor McPherson.
Actor Jim Norton, Tony and Olivier Award winner for "The Seafarer" and now on Broadway in the notably sunnier current revival of "Finian's Rainbow", discusses how the Irish view that Irish-inflected musical; how he wasn't entirely unprepared to appear in a musical, even though he's done extremely few in a 50 year career (despite an early appearance as Lt. Cable in "South Pacific"); and why appearing in a Broadway musical is unlike anything he's ever done before. He also takes us through his days as a child actor on radio; his emergence in the Irish theatre community in the 1960s and his subsequent decision to move to London at the decade's end, resulting in an exile from the Irish stage that would last 18 years; his quick discovery in London by noted director Lindsay Anderson; why he worked to keep the English theatre community from thinking of him as an Irish actor; why he made his American stage debut in California; how difficult he found it to perform in "The Pillowman"; what it was like to perform in "The Weir" in a variety of countries and venues; and his extensive work with a group of major playwrights over his career, including David Storey, Alan Ayckbourn, Tom Murphy, Sebastian Barry, Frank McGuinness and most notably, Conor McPherson. Original air date - December 14, 2009.
Actor Jim Norton, Tony and Olivier Award winner for "The Seafarer" and now on Broadway in the notably sunnier current revival of "Finian's Rainbow", discusses how the Irish view that Irish-inflected musical; how he wasn't entirely unprepared to appear in a musical, even though he's done extremely few in a 50 year career (despite an early appearance as Lt. Cable in "South Pacific"); and why appearing in a Broadway musical is unlike anything he's ever done before. He also takes us through his days as a child actor on radio; his emergence in the Irish theatre community in the 1960s and his subsequent decision to move to London at the decade's end, resulting in an exile from the Irish stage that would last 18 years; his quick discovery in London by noted director Lindsay Anderson; why he worked to keep the English theatre community from thinking of him as an Irish actor; why he made his American stage debut in California; how difficult he found it to perform in "The Pillowman"; what it was like to perform in "The Weir" in a variety of countries and venues; and his extensive work with a group of major playwrights over his career, including David Storey, Alan Ayckbourn, Tom Murphy, Sebastian Barry, Frank McGuinness and most notably, Conor McPherson. Original air date - December 14, 2009.
Frank McGuinness speaks of his experience of adapting Brian Friel’s Dancing At Lughnasa for the screen, with Meryl Streep in the leading role. Friel has appeared to shy away from film for most of his distinguished career but was deeply influenced by the wider revolutions in acting, writing and directing across all media during the 1960s when modern sensibility took shape. Friel’s writing may have been influenced by Tennessee Williams and Arthur Miller but it also owes a debt to powerful films such as Kurosawa’s Rashomon. By reducing the role of the narrator and repositioning the climactic dance sequence, McGuinness attempted to translate what he regarded as a ‘male’ play into ‘a woman’s movie’.
Frank McGuinness speaks of his experience of adapting Brian Friel’s Dancing At Lughnasa for the screen, with Meryl Streep in the leading role. Friel has appeared to shy away from film for most of his distinguished career but was deeply influenced by the wider revolutions in acting, writing and directing across all media during the 1960s when modern sensibility took shape. Friel’s writing may have been influenced by Tennessee Williams and Arthur Miller but it also owes a debt to powerful films such as Kurosawa’s Rashomon. By reducing the role of the narrator and repositioning the climactic dance sequence, McGuinness attempted to translate what he regarded as a ‘male’ play into ‘a woman’s movie’.
Over the last three decades Bill Whelan has been at the heart of many exciting moments of extraordinary innovation in Irish music across the genres from traditional to rock. Here he documents and considers his varied career to date, from jobbing session musician in the early 1970s to Grammy Award winner in 1997. Donal Lunny and Andy Irvine are recalled as seminal influences on his music during the Planxty years while the founding of Windmill Lane Studios in the 1980s is seen as a landmark moment in the evolution of Irish music across the spectrum. Whelan reflects on Riverdance from inception to global reception. At a time of rapid cultural change he welcomes the creative possibilities brought on by recent immigration to Ireland and argues for the importance of a robust Irish musical tradition.
Over the last three decades Bill Whelan has been at the heart of many exciting moments of extraordinary innovation in Irish music across the genres from traditional to rock. Here he documents and considers his varied career to date, from jobbing session musician in the early 1970s to Grammy Award winner in 1997. Donal Lunny and Andy Irvine are recalled as seminal influences on his music during the Planxty years while the founding of Windmill Lane Studios in the 1980s is seen as a landmark moment in the evolution of Irish music across the spectrum. Whelan reflects on Riverdance from inception to global reception. At a time of rapid cultural change he welcomes the creative possibilities brought on by recent immigration to Ireland and argues for the importance of a robust Irish musical tradition.
This lecture examines how contemporary Irish playwrights depict and how they engage the cinematic and narrative patterns we’ve come to associate with American movies. Donal O’Kelly’s Catalpa (1995), Martin McDonagh’s The Cripple of Inishmaan (1996), Marie Jones’s Stones in His Pockets (1999), and Geraldine Hughes’s Belfast Blues (2003) grapple with the effects of Hollywood on their characters and on Irish society. Despite frequently depicting individuals thwarted in their pursuit of big screen success, these plays maintain a surprising optimism about Hollywood. This suggests the American film industry provides a productive tool for exploring Irish identity and history in a moment of rapidly changing, globalized popular culture.
This lecture examines how contemporary Irish playwrights depict and how they engage the cinematic and narrative patterns we’ve come to associate with American movies. Donal O’Kelly’s Catalpa (1995), Martin McDonagh’s The Cripple of Inishmaan (1996), Marie Jones’s Stones in His Pockets (1999), and Geraldine Hughes’s Belfast Blues (2003) grapple with the effects of Hollywood on their characters and on Irish society. Despite frequently depicting individuals thwarted in their pursuit of big screen success, these plays maintain a surprising optimism about Hollywood. This suggests the American film industry provides a productive tool for exploring Irish identity and history in a moment of rapidly changing, globalized popular culture.
This lecture explores forms of popular culture that developed in Ireland during the Second World War. Comparisons are drawn with Britain, where radio and cinema assume tremendous importance in the war years. In Ireland the major developments are in amateur drama, reading groups, beginnings of film and journalism. Particular attention is focused on the very specific relationship between high and popular culture which develops in both Britain and Ireland at this time due to the fact that many 'high cultural' writers are taking on mediated jobs in radio broadcasting. Consideration is also given to the role of The Bell and other cultural movements in strengthening the consensus on behalf of neutrality in Ireland.
This lecture explores forms of popular culture that developed in Ireland during the Second World War. Comparisons are drawn with Britain, where radio and cinema assume tremendous importance in the war years. In Ireland the major developments are in amateur drama, reading groups, beginnings of film and journalism. Particular attention is focused on the very specific relationship between high and popular culture which develops in both Britain and Ireland at this time due to the fact that many 'high cultural' writers are taking on mediated jobs in radio broadcasting. Consideration is also given to the role of The Bell and other cultural movements in strengthening the consensus on behalf of neutrality in Ireland.
James Joyce’s works abound in references to popular culture. They depict such works as part of the very fabric of modern consciousness. Frequently, Joyce deploys allusions to popular entertainment as a means of underlining the debasement and vulgarity of contemporary existence. But also crucially, in the manner of Walter Benjamin, he depicts popular culture as a site of resistance and the very basis by which his characters may contest the enervating effects of capitalism and of political imperialisms.
James Joyce’s works abound in references to popular culture. They depict such works as part of the very fabric of modern consciousness. Frequently, Joyce deploys allusions to popular entertainment as a means of underlining the debasement and vulgarity of contemporary existence. But also crucially, in the manner of Walter Benjamin, he depicts popular culture as a site of resistance and the very basis by which his characters may contest the enervating effects of capitalism and of political imperialisms.
This lecture is focused primarily on the pre-revolutionary period in Ireland and looks at the cultural and visual significance of the image of the boy within Irish nationalist discourse.
This lecture examines W.B. Yeats’s not inconsiderable body of writing for the newspapers which ranges from literary journalism to letters to the editor. Attention will focus on the tensions between his clear commitment to journalistic practice and his own avowed hostility to ‘the Ireland of the newspapers’.
This lecture examines W.B. Yeats’s not inconsiderable body of writing for the newspapers which ranges from literary journalism to letters to the editor. Attention will focus on the tensions between his clear commitment to journalistic practice and his own avowed hostility to ‘the Ireland of the newspapers’.
This lecture is focused primarily on the pre-revolutionary period in Ireland and looks at the cultural and visual significance of the image of the boy within Irish nationalist discourse.
Like Moore’s Melodies, Bill Whelan’s Riverdance has become the stable signifier of a complex cultural moment. The innovation and appeal of his music lies in his ability to interrogate and transcend the highly compartmentalised divisions within Irish music which can be traced back to Yeats’s rejection of Moore’s songs.
Like Moore’s Melodies, Bill Whelan’s Riverdance has become the stable signifier of a complex cultural moment. The innovation and appeal of his music lies in his ability to interrogate and transcend the highly compartmentalised divisions within Irish music which can be traced back to Yeats’s rejection of Moore’s songs.
PJ Mathews introduces Series 1 of UCDscholarcast
PJ Mathews introduces Series 1 of UCDscholarcast
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