Podcasts about Gate Theatre

Professor Katriona O'Sullivan reflects on the last two years since her award-winning memoir, ‘Poor' came out, charting her life growing up in addiction and poverty. She also reveals details of the new play adaptation of ‘Poor' in The Gate Theatre and her DNA journey to uncover her late father's true backstory.

[TW//References to suicide & sexual abuse] Former actor Maike Mullender's life is a powerful story of resilience and self-discovery. In this extremely frank conversation, she opens up about the devastating loss of her father to suicide, a shocking and traumatic family secret, and the unanswered questions that haunted her past. She takes us through the mental health battles, the perfectionism, and dissociation that defined her childhood. But it doesn't end there – Maike shares her brave journey through therapy, embracing uncertainty, and discovering inner peace. From finding healing through yoga and meditation to accepting the complexities of her past, Maike's story is a testament to the strength of the human spirit. If you've ever struggled with accepting the past, trauma, self-worth, or finding your path forward, this episode is for you. More -Maike initially trained as an actor and performed on stage and TV. Her credits include North Square, The King and Us, Holby City, the Royal, Always & Everyone and Coronation Street, as well as The Gate Theatre and the Royal Exchange, Manchester.  After becoming frustrated with the sporadic nature of the work, she retrained as a Relate Couple and Young Peoples Counsellor, going on to work for Relate. She volunteers for Survivors of Bereavement by Suicide (SOBS) & last year she wrote a book about her experience of growing up with a father with undiagnosed mental health issues who went on to take his own life.  Her book: The Confession: A Journey to Acceptance was published in 2023. She now works as a yoga teacher & for The LUNA foundation. Podcasting is an expensive passion. To help me keep going, I'd really appreciate it if you could buy me a coffee, thank you! https://buymeacoffee.com/olivermason1Or via PayPal - https://bit.ly/3kSucAs Topics -0:00 Intro3:30 Maike's rock bottom 8:30 Shocking moments in childhood 12:00 Childhood coping mechanisms ALL14:45 Using adult relationships to fix childhood ones 15:50 Searching for answers 23:15 When not knowing can be OK 28:30 Forgiveness Vs acceptance 31:40 Dealing with doubt now 34:40 Yoga as therapy 39:30 Ongoing healing & working as a therapist 44:10 How to move through childhood trauma Further support -Survivors of Bereavement by Suicide - 0300 111 5065 Hub of hope - https://hubofhope.co.uk Samaritans -116 123 NAPAC – 0808 801 0331 Follow Maike Facebook - https://bit.ly/3ZtQGJTLinkedIn - https://bit.ly/4fDHY1bWebsite -https://www.maikemullenders.comBook - https://amzn.to/3VbvEwW Follow Oliver Instagram - https://bit.ly/3IemHLY Facebook - http://bit.ly/3w8S1GxTikTok - https://bit.ly/3YGLsYmLinkedIn - http://bit.ly/3kp4ymCThreads - https://bit.ly/3svw7yLX - http://bit.ly/3GQYj2l Please subscribe, follow, like, leave a review and comment! YouTube - https://bit.ly/4fTWGB9Spotify - https://bit.ly/4fTvJhcApple - https://apple.co/3PajZvQ #TraumaRecovery#MentalHealthJourney#acceptance

Greetings Glocal Citizens! This week writing as activism is taking us to a land with a long history of activist thought ans action - Ireland. Born and raised in Nigeria, Dagogo Hart migrated to Ireland at an early age to complete his studies and now calls it home along with his young family. He is a poet, playwright, and spoken word artist whose words have wowed audiences from bar basements to electric picnic stages. He started performing in Dublin in 2016 in open mics and poetry slams, which saw him win the Slam Sunday grand slam and become an All Ireland poetry slam finalist. Since then he has performed for festivals like Electric Picnic, St. Patricks, Dublin Fringe, Drogheda literary festival, Cuirt International Poetry Festival, and First fortnight. He is one-third of the collective WeAreGriot - a poetry collective that curates art events around poetry. His personal works include, The Home Project (a series of poetry films), RedBeard Paddy (a poetry short film), Mmanwu (a play in the 2023 Dublin Fringe Festival), See True (a spoken word variety show) and Boy Child (a spoken-word play), the last two co-written with FeliSpeaks, Talkatives; a hip-hop and poetry slam as part of WeAreGriot. As you'll learn in our conversation and glean from his works, his poetry is inspired by his hometown in Lagos, Nigeria, and his experience since moving to Ireland. See Dagogo on stage at Pa Gya! 2024 performing his words here (https://www.youtube.com/live/Oovils3mV7o?si=Dl9TE-EqGvvNV0vK) and in discussion about his works here (https://www.youtube.com/live/fEFByAZDgwo?si=s32fQt58aspsPkOQ). Where else to find Dagogo? WeAreGriot (https://www.brinkerhoffpoetry.org/poets/wearegriot) On LinkedIn (https://www.linkedin.com/in/dagogo-dagogo-hart-830774108/) On Instagram (https://www.instagram.com/dagogo_hart/?hl=en) On X (https://x.com/dondagz?lang=en) What's Dagogo watching? Fences (film) (https://en.wikipedia.org/wiki/Fences_(film)) Shōgun (series) (https://shogun.fandom.com/wiki/Sh%C5%8Dgun) What's Dagogo listenining to? Alice Smith sings “I Put a Spell on You” (https://www.youtube.com/watch?v=kz506sFHeJY) Other topics of interest: Surulere, Nigeria (https://en.wikipedia.org/wiki/Surulere) Tralee, Ireland (https://en.wikipedia.org/wiki/Tralee) Cork, Ireland (https://en.wikipedia.org/wiki/Cork_(city)) Visit Dublin, Ireland (https://www.visitdublin.com/things-to-do/arts-culture) and the Clondalkin Tower (https://www.dublinsoutdoors.ie/round-tower-clondalkin-village/) The Abbey Theatre (https://en.wikipedia.org/wiki/Abbey_Theatre) and The Gate Theatre (https://en.wikipedia.org/wiki/Gate_Theatre) Port Harcourt Tourist Beach (https://en.wikipedia.org/wiki/Port_Harcourt_Tourist_Beach) More on Chucky Ar la (https://en.wikipedia.org/wiki/Tiocfaidh_%C3%A1r_l%C3%A1) Inshallah (https://en.wikipedia.org/wiki/Inshallah) Where are the Irish language speaking towns in Ireland? (https://en.wikipedia.org/wiki/Gaeltacht) Special Guest: Dagogo Hart.

Marty is joined by Ruth Mc Gill and Aoife Mulholland to chat about the Gate Theatre production of the Borrowers.

David Rawle from the popular sitcom, Moone Boy, joins Oliver and tells him about the casting process for his first big part, local Leitrim reaction to his role and being in The Borrowers which is this year's winter play at The Gate Theatre. Tickets for The Borrowers available via www.gatetheatre.ie

Chat with the Belfast actress about her latest stage role - Mo Mowlam in Owen McCafferty's play ‘Agreement', based on the Good Friday Agreement talks – which is now running at the Gate Theatre, as part of the Dublin Theatre Festival Full details: www.gatetheatre.ie

Ruth talks about ‘Dancing at Lughnasa' at The Gate Theatre and training as a death doula after the painful loss of her parents.

Orson Welles made his stage debut in Dublin. To him, The Gate Theatre would always be a part of the story of his own life development and professional career. Later, he returned to scenes of protest against the same theatre for hosting him. In time, all was forgiven and Welles would deliver an astonishing Q and A before a packed Dublin crowd who quizzed him on everything from American politics to the future of cinema.

On this weeks All Walks Podcast interview, we are joined by Hollywood actor Jason O'Mara.Jason tells a fantastic story about getting into acting, his love for the stage and the transition to TV and Film. He has an impressive resume BIO from IMDb:Jason O'Mara was born and raised in Dublin, Ireland. Soon after graduating from Trinity College Dublin with a BA in Drama and Theatre he moved to London, England, to further pursue his acting career. Time spent in British repertory theater led to leading roles in acclaimed productions at some of Britain and Ireland's great theaters, including The Royal Shakespeare Company, The Almeida, The Donmar, London's West End (Apollo and Comedy Theatres) and the Gate Theatre, Dublin. Concurrently, he appeared in many British TV series for both the BBC and ITV. A permanent move to the US in 2002 resulted in Jason becoming a major presence on American and international screens, both big and small.In 2017 Jason won the Irish Film and Television Award (IFTA) for Best Supporting Actor for his role as the real life character of Sgt. Jack Prendergast in the film 'The Siege Of Jadotville'.Jason is an ambassador for The Lir, Ireland's National Academy of Dramatic Art at Trinity College Dublin and for The Movember Foundation, the global men's health charity organization.He lives in Los Angeles and visits Ireland as often as possible.You can follow Jason on Twitter @jason_omara and Instagram @jasonomaraofficial and Facebook.I hope you enjoy it

Diarmuid McIntyre of Grey Heron Media takes you on a tour of Kilmallock meeting the people who make the town special including volunteers like Max Hennessy and Ciara Moloney, manager of the Friar's Gate Theatre in Kimallock. Hosted on Acast. See acast.com/privacy for more information.

Niamh comes from a pretty impressive acting dynasty. Actor Niamh Cusack joined Dave to chat about acting, family ties and her new role in Annie Baker's 'Circle Mirror Transformation' at the Gate Theatre.

Anton chats with actor and comedian Risteárd Cooper about the juxtaposition of his career, and his latest role at The Gate Theatre.

Chat with the actress about her role in the Annie Baker play ‘Circle Mirror Transformation' at the Gate Theatre, her parents and the family acting dynasty and her early plans to be a professional flute player Further details: https://www.gatetheatre.ie/

The award-winning author of ‘Room' and ‘The Wonder' chats about adapting her novel ‘The Pull of the Stars' for the Gate Theatre stage and her admiration for Dr Kathleen Lynn; she also talks about her family roots in Ireland and refusing to worry about whether her books will sell well

KPFA Theatre critic Richard Wolinsky reviews the Broadway-bound revival of “The Wiz” at BroadwaySF Golden Gate Theatre through Feb. 11, 2024 The post Review: “The Wiz” at BroadwaySF Golden Gate Theatre appeared first on KPFA.

“As if people who aren't trans can't take something from our experiences and our stories. Well, we've been watching cis people tell stories forever, and we still take stuff from stories because we're all human beings.” - Mika Onyx Johnson The arts have always played a powerful role in influencing public perception. That's why it matters what stories we decide to tell, and who we choose to tell these stories. Stars of stage and screen Felix Mufti and Mika Onyx Johnson share their thoughts about what genuine inclusivity looks like, as well as the value of funding regional theatre projects, and the joys of working on smaller-scale productions. Felix and Mika's word of the day is OWNERSHIP Watch along with this episode here  About our contributors: Felix Mufti is a scouse activist, performer, writer and chaos-causer who loves to tell his unhinged life stories through rhythm n' rap inspired spoken word, poetry, prose and music. With a passion for many forms of activism, due to his own lived experience, Felix's heart lies deepest with his fellow Queer communities. He is an key organiser for Trans Pride Liverpool, Transgender Day of Remembrance and is the Trans Rep for Socialist LGBT+ Network. He is also a lecturer and workshop facilitator for companies, charities, community groups providing expert insight into how Queerness and allowing it flourish can positively influence industries, community and society. Felix co-founded Transcend Theatre where he writes and performs in authentic, usually unexplored stories of trans experience. His sell-out shows: ACE funded play and his debut, How to Kill a Rose was rated 4/5 stars by North West End and his following project Be Gay, Do Crime, blew the roof off the Shakespeare North Playhouse. Felix's professional credits include: Sex Education (Netflix); When All Is Said (Fuel) which he also wrote and Transpose: Joy (Barbican). Mika Onyx Johnson is an actor, writer and performance artist from Nottingham. His debut show, Pink Lemonade, previewed at the Gate Theatre before premiering at the Edinburgh Fringe Festival in 2019, where it was included in The Stage's 18 best shows of the Fringe. In 2021 Pink Lemonade debuted at the Bush Theatre, to rave reviews. The show is currently being developed for TV with Balloon Entertainment. Theatre includes: As You Like It (Shakespeare's Globe), The Seagull (Harold Pinter), Cyrano de Bergerac (Playhouse, Harold Pinter, Glasgow Theatre Royal and BAM – NYC), Pink Lemonade (Bush); Dear Elizabeth (Gate); Michael X (Almeida). Television includes: Newark, Newark; Screw; The Girlfriend Experience. Writing includes: What It Feels Like For A Girl (BBC); My White Best Friend (Bunker); Pink Lemonade (Bush); Queer Upstairs (Royal Court); I'm Here (Pentabus). You can find our list of resources here #AnthemsTalks is a collection of intimate conversations between pairs of trailblazers, activists and creatives in honour of Transgender Awareness Week. It was Executive Produced by Bea Duncan, with Production from Talia Augustidis and Lucy Carr, video production from Thunder Video, video editing by Eleanore Bamber and Sound Engineering by Ben Williams. The artwork is by Eleanore Bamber and Mars West. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Roddy Doyle chats about his contemporary Dublin take on Peter Pan, which is coming to the Gate Theatre in November Full details: www.gatetheatre.ie

Aedín catches up with Killian Donnelly and Frances McNamee, the two lead actors in Fun Home at The Gate Theatre.

Killian Donnelly gave us an insight in his life in musical theatre from roles as Phantom of the Opera to Billy Elliot ahead of his upcoming appearance in Fun Home at The Gate Theatre.

This story about Simon's Grandfather is almost hard to believe! Actor and TV Presenter Simon Delaney joined Dermot and Dave for a chat. Simon stars in The Price at the Gate Theatre, Dublin, which is running until June 3.

Chanteuse Camille O'Sullivan and west-end star Aoife Mullholland join Marty to chat their respective roles as Edith Piaf and Marlene Dietrich in the Gate Theatre's current production of PIAF 

Camille O'Sullivan celebrates the extraordinary life of iconic French chanteuse Edit Piaf in her show 'Piaf' Full details on the Gate Theatre website at: https://www.gatetheatre.ie/production/piaf/

Camille O'Sullivan celebrates the extraordinary life of iconic French chanteuse Edit Piaf in her show 'Piaf' Full details on the Gate Theatre website at: https://www.gatetheatre.ie/production/piaf/

Drawing on newly released and digitized archival records, Houlihan's Theatre and Archival Memory: Irish Drama and Marginalised Histories 1951-1977 (Palgrave MacMillan, 2021) examines a pivotal period of social and cultural change in the history of Irish theatre, offering unique insights into the production and reception of Irish drama, its internationalization and political influences. From the 1950s onwards, Irish theatre engaged audiences within new theatrical forms at venues from the Pike Theatre, the Project Arts Centre, and the Gate Theatre, as well as at Ireland's national theatre, the Abbey. Incorporating the work of overlooked female playwrights like Edna O'Brien, Mary Manning, Carolyn Swift, and Mairead Ni Ghrada, this book argues for an inclusive historiography reflective of the formative impacts of marginalized performance histories upon modern Irish theatre. This study examines these works' experimental dramaturgical impacts in terms of production, reception, and archival legacies. Theatre and Archival Memory is framed by the device of ‘archival memory' and serves as a means for scholars and theatre-makers to inter-contextualize existing historiography and to challenge canon formation. It also presents a new social history of Irish theatre told from the fringes of history and reanimated through archival memory. Bridget English is a scholar of Irish literature and culture, modernism, and health humanities, based at the University of Illinois Chicago. She co-convenes the Irish Studies Seminar at the Newberry Library and is the Literature Representative for the American Conference for Irish Studies. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Drawing on newly released and digitized archival records, Houlihan's Theatre and Archival Memory: Irish Drama and Marginalised Histories 1951-1977 (Palgrave MacMillan, 2021) examines a pivotal period of social and cultural change in the history of Irish theatre, offering unique insights into the production and reception of Irish drama, its internationalization and political influences. From the 1950s onwards, Irish theatre engaged audiences within new theatrical forms at venues from the Pike Theatre, the Project Arts Centre, and the Gate Theatre, as well as at Ireland's national theatre, the Abbey. Incorporating the work of overlooked female playwrights like Edna O'Brien, Mary Manning, Carolyn Swift, and Mairead Ni Ghrada, this book argues for an inclusive historiography reflective of the formative impacts of marginalized performance histories upon modern Irish theatre. This study examines these works' experimental dramaturgical impacts in terms of production, reception, and archival legacies. Theatre and Archival Memory is framed by the device of ‘archival memory' and serves as a means for scholars and theatre-makers to inter-contextualize existing historiography and to challenge canon formation. It also presents a new social history of Irish theatre told from the fringes of history and reanimated through archival memory. Bridget English is a scholar of Irish literature and culture, modernism, and health humanities, based at the University of Illinois Chicago. She co-convenes the Irish Studies Seminar at the Newberry Library and is the Literature Representative for the American Conference for Irish Studies. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Drawing on newly released and digitized archival records, Houlihan's Theatre and Archival Memory: Irish Drama and Marginalised Histories 1951-1977 (Palgrave MacMillan, 2021) examines a pivotal period of social and cultural change in the history of Irish theatre, offering unique insights into the production and reception of Irish drama, its internationalization and political influences. From the 1950s onwards, Irish theatre engaged audiences within new theatrical forms at venues from the Pike Theatre, the Project Arts Centre, and the Gate Theatre, as well as at Ireland's national theatre, the Abbey. Incorporating the work of overlooked female playwrights like Edna O'Brien, Mary Manning, Carolyn Swift, and Mairead Ni Ghrada, this book argues for an inclusive historiography reflective of the formative impacts of marginalized performance histories upon modern Irish theatre. This study examines these works' experimental dramaturgical impacts in terms of production, reception, and archival legacies. Theatre and Archival Memory is framed by the device of ‘archival memory' and serves as a means for scholars and theatre-makers to inter-contextualize existing historiography and to challenge canon formation. It also presents a new social history of Irish theatre told from the fringes of history and reanimated through archival memory. Bridget English is a scholar of Irish literature and culture, modernism, and health humanities, based at the University of Illinois Chicago. She co-convenes the Irish Studies Seminar at the Newberry Library and is the Literature Representative for the American Conference for Irish Studies. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Drawing on newly released and digitized archival records, Houlihan's Theatre and Archival Memory: Irish Drama and Marginalised Histories 1951-1977 (Palgrave MacMillan, 2021) examines a pivotal period of social and cultural change in the history of Irish theatre, offering unique insights into the production and reception of Irish drama, its internationalization and political influences. From the 1950s onwards, Irish theatre engaged audiences within new theatrical forms at venues from the Pike Theatre, the Project Arts Centre, and the Gate Theatre, as well as at Ireland's national theatre, the Abbey. Incorporating the work of overlooked female playwrights like Edna O'Brien, Mary Manning, Carolyn Swift, and Mairead Ni Ghrada, this book argues for an inclusive historiography reflective of the formative impacts of marginalized performance histories upon modern Irish theatre. This study examines these works' experimental dramaturgical impacts in terms of production, reception, and archival legacies. Theatre and Archival Memory is framed by the device of ‘archival memory' and serves as a means for scholars and theatre-makers to inter-contextualize existing historiography and to challenge canon formation. It also presents a new social history of Irish theatre told from the fringes of history and reanimated through archival memory. Bridget English is a scholar of Irish literature and culture, modernism, and health humanities, based at the University of Illinois Chicago. She co-convenes the Irish Studies Seminar at the Newberry Library and is the Literature Representative for the American Conference for Irish Studies. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Drawing on newly released and digitized archival records, Houlihan's Theatre and Archival Memory: Irish Drama and Marginalised Histories 1951-1977 (Palgrave MacMillan, 2021) examines a pivotal period of social and cultural change in the history of Irish theatre, offering unique insights into the production and reception of Irish drama, its internationalization and political influences. From the 1950s onwards, Irish theatre engaged audiences within new theatrical forms at venues from the Pike Theatre, the Project Arts Centre, and the Gate Theatre, as well as at Ireland's national theatre, the Abbey. Incorporating the work of overlooked female playwrights like Edna O'Brien, Mary Manning, Carolyn Swift, and Mairead Ni Ghrada, this book argues for an inclusive historiography reflective of the formative impacts of marginalized performance histories upon modern Irish theatre. This study examines these works' experimental dramaturgical impacts in terms of production, reception, and archival legacies. Theatre and Archival Memory is framed by the device of ‘archival memory' and serves as a means for scholars and theatre-makers to inter-contextualize existing historiography and to challenge canon formation. It also presents a new social history of Irish theatre told from the fringes of history and reanimated through archival memory. Bridget English is a scholar of Irish literature and culture, modernism, and health humanities, based at the University of Illinois Chicago. She co-convenes the Irish Studies Seminar at the Newberry Library and is the Literature Representative for the American Conference for Irish Studies. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Drawing on newly released and digitized archival records, Houlihan's Theatre and Archival Memory: Irish Drama and Marginalised Histories 1951-1977 (Palgrave MacMillan, 2021) examines a pivotal period of social and cultural change in the history of Irish theatre, offering unique insights into the production and reception of Irish drama, its internationalization and political influences. From the 1950s onwards, Irish theatre engaged audiences within new theatrical forms at venues from the Pike Theatre, the Project Arts Centre, and the Gate Theatre, as well as at Ireland's national theatre, the Abbey. Incorporating the work of overlooked female playwrights like Edna O'Brien, Mary Manning, Carolyn Swift, and Mairead Ni Ghrada, this book argues for an inclusive historiography reflective of the formative impacts of marginalized performance histories upon modern Irish theatre. This study examines these works' experimental dramaturgical impacts in terms of production, reception, and archival legacies. Theatre and Archival Memory is framed by the device of ‘archival memory' and serves as a means for scholars and theatre-makers to inter-contextualize existing historiography and to challenge canon formation. It also presents a new social history of Irish theatre told from the fringes of history and reanimated through archival memory. Bridget English is a scholar of Irish literature and culture, modernism, and health humanities, based at the University of Illinois Chicago. She co-convenes the Irish Studies Seminar at the Newberry Library and is the Literature Representative for the American Conference for Irish Studies. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

Drawing on newly released and digitized archival records, Houlihan's Theatre and Archival Memory: Irish Drama and Marginalised Histories 1951-1977 (Palgrave MacMillan, 2021) examines a pivotal period of social and cultural change in the history of Irish theatre, offering unique insights into the production and reception of Irish drama, its internationalization and political influences. From the 1950s onwards, Irish theatre engaged audiences within new theatrical forms at venues from the Pike Theatre, the Project Arts Centre, and the Gate Theatre, as well as at Ireland's national theatre, the Abbey. Incorporating the work of overlooked female playwrights like Edna O'Brien, Mary Manning, Carolyn Swift, and Mairead Ni Ghrada, this book argues for an inclusive historiography reflective of the formative impacts of marginalized performance histories upon modern Irish theatre. This study examines these works' experimental dramaturgical impacts in terms of production, reception, and archival legacies. Theatre and Archival Memory is framed by the device of ‘archival memory' and serves as a means for scholars and theatre-makers to inter-contextualize existing historiography and to challenge canon formation. It also presents a new social history of Irish theatre told from the fringes of history and reanimated through archival memory. Bridget English is a scholar of Irish literature and culture, modernism, and health humanities, based at the University of Illinois Chicago. She co-convenes the Irish Studies Seminar at the Newberry Library and is the Literature Representative for the American Conference for Irish Studies. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

In this episode of Kiss My Black Side, host Brenda Emmanus OBE brings together three Black theatre creatives to deliver an insightful conversation on the arts, and the place of Black practitioners and audiences within it. With Clint Dyer, Stella Kanu and Tinuke Craig, they muse on the responsibility that this brings and on their mutual desire to witness diverse audiences packing theatre spaces and seeing work that reflects their own experiences. There is excitement and optimism as they celebrate the productions currently on offer but are not complacent about the work that is left to be done to engage Black and working-class audiences.These are exciting times in Black theatre - a renaissance perhaps. Clint Dyer,Tinuke Craig and Stella Kanu are amongst the makers and messengers from their place in the mainstream arena, now serving to make things happen. Host: Brenda Emmanus OBE Brenda Emmanus OBE has had a consistent and varied career in print, radio and television. She has established herself as a television presenter with experience across a range of genres – news and current affairs, popular factual, travel, fashion, and the arts.From news features to documentaries Brenda has interviewed some of the biggest names in the arts and entertainment. In 2019 she was awarded the Order of the British Empire (OBE) for services to Broadcasting and Diversity. Guests: Clint Dyer - Deputy Artistic Director, National Theatre The multi-talented writer, actor and director is Deputy Director at the National Theatre. Clint is set to make history as the first Black male to direct Othello at a major British venue. His play, the Death of England, which he wrote and directed was nominated for Best Drama programme at this year's Digital Awards and won Best Play/Musical at the Missionary Honour's awards 2020. Throughout his career he has written, directed, and acted for stage, film and television. Stella Kanu - Executive Director at LIFT – The London International Festival of TheatreStella is a highly respected arts leader who has worked in theatre, festivals, and the cultural sector for over two decades. She sits on several strategic and governing bodies, has vast Trustee experience and is a much sought-after panelist, speaker and writer on topics such as inspirational leadership, diversity and inclusion and women in marketing. An arts visionary, responsible for an iconic moment in the history of The Globe Theatre when she brought together 250 Black women working in theatre for an iconic photocall at The Globe to celebrate the significant role Black women have played and continue to play in theatre and its diversity. Tinuke Craig - Theatre Director Tinuke trained as a Director at the London Academy of Music and Dramatic Art (LAMDA). She won the Genesis Future Director Award in 2014 then became The Gate Theatre's Associate Director. Her other credits include Artistic Associate for the Lyric Hammersmith and Associate for the National Youth Theatre of Great Britain.InstagramClint_dyerStellakanuTinucraigBrendaemmanusSadler's_Wells Hosted on Acast. See acast.com/privacy for more information.

The Steward of Christendom makes a return to the Gate Theatre with Owen Roe as Thomas Dunne - The Civil War saw the destruction of State records, which are now being recreated digitally - The Terminal List is a new series starring Chris Pratt - Model Plot by Deirdre O'Mahony is a sculptural planting of herb and forage crops framed by potato ridges

Mika Onyx Johnson is an actor, writer and performance artist from Nottingham, based in London. He has performed in Cyrano de Bergerac in London's West End, and have been featured as a writer for My White Best Friend (The Bunker). Mika's debut show, Pink Lemonade, previewed at the Gate Theatre before premiering at the Edinburgh Fringe Festival in 2019, where it was included in The Stage's 18 best shows of the Fringe. In 2021 Pink Lemonade debuted at the Bush Theatre, to rave reviews. The show is currently being developed for TV with Balloon Entertainment. His word of the day is NEW. #AnthemsPride is a collection of 30 original manifestos, speeches, stories, poems and rallying cries written and voiced by exceptional LGBTQIA+ contributors and allies. It was created, sound designed and executive produced by Hana Walker-Brown with lead producer Bea Duncan, producer Francesca Turauskis and production manager Rory Boyle. The artwork is by Mars West and Eleanore Bamber. Learn more about your ad choices. Visit megaphone.fm/adchoices

Actor and artistic director, Louis Lovett joined Brendan in studio. The Tin Solider is a new play at The Gate Theatre, which unveils the truth behind Han Christian Anderson. gatetheatre.ie/production/tin-soldier/

Nude scenes in theatre might become a thing of the past due to a growing trend whereby audience members are taking photographs of actors while they are unclad. Boston born actress, Maria Tecce starred in 'Les Liaisons Dangereuses' in The Gate Theatre in 2010 where she appeared nude in a number of scenes. She joined Sean to explain why she would think twice about doing it today.

Nude scenes in theatre might become a thing of the past due to a growing trend whereby audience members are taking photographs of actors while they are unclad. Boston born actress, Maria Tecce starred in 'Les Liaisons Dangereuses' in The Gate Theatre in 2010 where she appeared nude in a number of scenes. She joined Sean to explain why she would think twice about doing it today.

We preview new films: Happening, The Unbearable Weight of Massive Talent and Playground. In theatre, we report from the launch of the RTÉ All Ireland Drama Festival at the Abbey Theatre, and we look at Frankenstein: How To Make A Monster at the Gate Theatre.

Lottie chats to Actor, Nadine Rose Johnson about a modern edition of Mary Shelley's horror classic, which is called 'Frankenstein: How To Make A Monster' which officially opens at The Gate Theatre, Dublin on April 20th!

The Playcast is back!We return with the first episode of the season brining you an interview with Caroline Bird. Caroline is the writer of Red Ellen which arrives at Nottingham Playhouse on Weds 13th April. Get your tickets hereBioCaroline won The Forward Prize for best poetry collection in 2020. She was shortlisted for the Costa Prize 2020, the TS Eliot Prize 2017, the Ted Hughes Award 2017, and the Dylan Thomas Prize twice in 2008 and 2010. She was a finalist for the Susan Smith Blackburn Prize 2014. She has also won an Eric Gregory Award (2002) and the Foyle Young Poet of the Year award two years running (1999, 2000), and was a winner of the Poetry London Competition in 2007, the Peterloo Poetry Competition in 2004, 2003 and 2002. Caroline was on the shortlist for Shell Woman Of The Future Awards 2011.Caroline has had six collections of poetry published by Carcanet. Her first collection Looking Through Letterboxes (published in 2002 when she was only 15) is a topical, zesty and formally delightful collection of poems built on the traditions of fairy tale, fantasy and romance. Her second collection, Trouble Came to the Turnip, was published in September 2006 to critical acclaim. Watering Can, her third collection published in November 2009 celebrates life as an early twenty-something with comedy, wordplay and bright self-deprecation. Her fourth collection, The Hat-Stand Union, was described by Simon Armitage as ‘spring-loaded, funny, sad and deadly.' Her fifth collection, In These Days of Prohibition (published July 2017) was shortlisted for the 2017 TS Eliot Prize and the 2017 Ted Hughes Award. Her sixth collection, The Air Year was published in February 2020, and was book of the month in The Telegraph, book of the year in the Guardian, shortlisted for the Costa Prize, and winner of the Forward Prize.Bird's poems have been published in several anthologies and journals including Poetry Magazine, PN Review, Poetry Review and The North magazine. Several of her poems and a commissioned short story, Sucking Eggs, have been broadcast on BBC Radio 4 and BBC Radio 3. She was one of the five official poets at London Olympics 2012. Her poem, The Fun Palace, which celebrates the life and work of Joan Littlewood, is now erected on the Olympic Site outside the main stadium.In recent years, Caroline has given poetry performances at Aldeburgh Festival, Latitude Festival, the Manchester Literature Festival, the Wellcome Collection, the Royal Festival Hall, the Wordsworth Trust, Cheltenham Festival, and Ledbury Festival, amongst others.Caroline Bird began writing plays as a teenager when she was the youngest ever member of the Royal Court Young Writer's Programme, tutored by Simon Stephens. In 2011 Caroline was invited to take part in Sixty Six Books by the Bush Theatre. She wrote a piece inspired by Leviticus, directed by Peter Gill. In February 2012, her Beano-inspired musical, The Trial of Dennis the Menace was performed in the Purcell Room at the Southbank Centre.Caroline's new version of The Trojan Women premiered at the Gate Theatre at the end of 2012 to wide critical acclaim. Caroline's plSupport the show (https://nottinghamplayhouse.co.uk/support-us/donate/curtain-up-appeal/)

Listen Now On the Sunday, April 3rd edition of The Travel Guys…  In the Travel News, we are celebrating birthdays. The legendary Golden Gate Theatre in San Francisco turned 100 last weekend, and the city of Napa is about to celebrate 175 years. Renting a car has been a challenging proposition recently. It's not going to change anytime soon, as vehicle shortages continue to plague the system. If you are about to rent a car,...

Summary:In this episode, our host Adrian Ellis speaks with Kingsley Jayasekera, former Director of Marketing and Customer Experience, at the West Kowloon Cultural District. They reflect on his near decade-long experience in Hong Kong and discuss the importance of cultivating arts audiences through creating holistic customer experiences – and using social media for outreach and engagement.  After, Adrian is joined by Criena Gehrke to discuss key takeaways. They highlight the challenges of audience development, including the ethical issues of data collection and privacy. References: West Kowloon Cultural District (WKCD), an integrated arts and cultural quarter in Hong Kong that was first proposed in 1996 – one of the largest cultural projects in the world. Sadler's Wells, a globally-renowned dance organisation and performing arts venue based in London, England. Xiqu Centre, a performance venue dedicated to Chinese opera in WKCD – opened in 2019. Art Park, a green space in WKCD that welcomes visitors to relax and play. M+ Museum, a new museum in WKCD exhibiting twentieth and twenty-first century visual culture encompassing visual art, design and architecture, and moving image – opened in 2021. Digital wayfinding at West Kowloon Cultural District: a case study on how digital wayfinding and digital maps are used to elevate visitor experiences at WKCD. Hong Kong Palace Museum, a planned museum exhibiting artefacts from Beijing's Palace Museum in WKCD – expected to open in July 2022. High Line, a public park built on a historic freight rail line elevated above the streets on Manhattan's West Side.  Bio:  Kingsley Jayasekera is a communications and marketing professional with extensive experience in both the commercial and subsidised culture and entertainment sectors. Until late 2021, he worked as Director, Marketing & Customer Experience at the West Kowloon Cultural District in Hong Kong. He is a regular international speaker on branding and marketing for the arts. He has also served on the board of Audiences London (now the Audience Agency UK), Dance East UK, East London Dance and the Gate Theatre, London and the Advisory Panel for the Ticketing Technology Forum.

Joining @paulbutlerlennox and @paulwebsterfilms in the studio this week is one of Ireland's most hard working Actors, Dubliner Jason Barry @jasonbarry_   Jason has the very unique achievement of featuring in one of the most successful Films of all time (Titanic) and the most successful TV series Ireland has produced (Love/Hate). Today We have a VERY open conversation. From running for well being, moving to London as a young man and Bruno Fernandes... To discussing the importantance of supportive mentors, to the special person (for him) that encouraged him as a lad to pursue his dreams and what it was like working with James Cameron and watching Tom Cruise descend from a helicopter.  ​ Having received his BA in Drama Studies from Trinity College, Dublin, Jason's first major break into the film industry came when he was cast as Tommy Ryan alongside Leonardo DiCaprio and Kate Winslet in James Cameron's TITANIC. Jason's most recent credits include the role of Patrick opposite Pierce Brosnan in John Moore's feature film I.T, the FX series SONS OF ANARCHY, RTÉ's LOVE/HATE (in which he played the role of Dano from 2012-2013), 100 DEGREES, a short which he both directed and starred in, and UNITED PASSIONS alongside Gérard Depardieu and Tim Roth, directed by Frédéric Aubertin. Further film credits include VALKYRIE directed by Brian Singer and co-starring Tom Cruise, THE LAST OF THE HIGH KINGS directed by David Keating and co-starring Jared Leto, and CIRCLE OF FRIENDS directed by Pat O'Connor.  Theatre credits include THE PLOUGH AND THE STARS directed by Stephen Rea (Gaiety Theatre) and A MIDSUMMER NIGHT'S DREAM directed by Joe Dowling at the Gate Theatre, Dublin. Fni Wrapchat is supported by Octovid.com, Film Equipment Store and Wildcard Distribution.  Support WRAPCHAT and Fni on BuyMeACoffee.com/fni  Share/Subscribe #WeAreFni #YouAreFni Learn more about your ad choices. Visit megaphone.fm/adchoices

A panel discussion as part of the ‘Sonic Spaces' series. A rise in the number of sound-focused cultural productions is one of the key trends to emerge in the performing arts in recent years, including the reworking of various literary works and figures in the direction of sound and music centred experiences. How do artists and practitioners adapt written works into coherent listening experiences? What principles of sound design guide the development of creative soundscapes for the performing arts? A panel of established creative practitioners discuss these and related issues: Evangelia Rigaki, Head of Music at Trinity, who will discuss her installation opera This Hostel Life (Irish National Opera, 2019) based on Melatu Uche Okorie's book of the same name; Kevin Gleeson, a prominent sound designer for theatre and film, who will discuss recent collaborations with Dead Centre (Hamnet, Beckett's Room, To Be A Machine); and Nicholas Johnson, Associate Professor of Drama at Trinity and co-founder of the Samuel Beckett Laboratory, who will discuss his recent dramaturgical work on Beckett's Room, a sound-focused play and co-production of Dead Centre and Gate Theatre. The panel will be chaired by Ruth Barton, Head of School of the Creative Arts at Trinity. ‘Sonic Spaces' is organised by Jennifer O'Meara, Department of Film, as part of the Creative Arts Practice Research theme. It is supported by the Trinity Long Room Hub Arts and Humanities Research Institute.

in late 2017, Michael Colgan was all over the Irish media, for reasons to which I alluded to start of the programme I made to be broadcast at Christmas 2017 as part of my series The Joe Jackson Tapes Revisited. it was pulled at the last moment by RTE. They had “sound problems” I was told, a phrase that can be read in many ways. I protested.  I argued that an interview I did in 2003 in which I set out to probe the psyche of Michael Colgan “would be of public interest and even perform a public service!” To no avail. it was never broadcast. I now am delighted, during this age of podcasts, to finally be able to get to the public programme that should have been heard in 2017-  despite its "sound problems." Enjoy.

On this week's Episode of FNI Wrap Chat is one of Ireland's hardest working and most dedicated actors of stage and screen. Ian Lloyd Anderson. Ian is an Actor's Actor, with a great sense of humour, Ian is a brilliant example of grit, talent and determination. From his brilliant turn in Dublin Old School (stage and screen) to his latest film, working with Clare Dunne on Herself, directed by Phyllida Lloyd (Mamma Mia, Iron Lady). PBL and Seán T. Ó Meallaigh had a very Frank chat about all things daddy bedtime stories with his kids, the importance of staying sharp, fighting for parts and dealing with rejection and the downside to Acting and the creative life. ****This is an unmissable podcast for actors in particular. A graduate of the Gaiety School of Acting; Ian was recently awarded best supporting actor at the Irish Times Theatre awards for his performance in Druid Theatre's Beacon at The Gate Theatre. He can now be seen on screen in season 2 of Blood opposite Adrian Dunbar and Grainne Keenan on Virgin Media One. Film/TV credits include: Herself (Element Pictures, Dir: Phyllida Lloyd), Wastewater, Headcases (RTÉ), Honest (IFB Short Film), Dublin Old School (Element Pictures, Dir: Dave Tynan), They Shoot People (Short), Leave (Short), Game of Thrones (HBO), Love/Hate (RTÉ, Dir: Dave Caffrey), Standby (Black Sheep Productions), Scratch (Short), Raw, The Clinic (RTÉ) & Dorothy Mills (Octagon Films). Theatre credits include: The Cherry Orchard (Druid Theatre, Dir: Garry Hynes), Beacon (The Gate Theatre, Dir: Garry Hynes), Evening Train (Everyman Theatre, Dir: Annabelle Comyn), In Our Veins (The Peacock Theatre), Dublin Old School (The Project Arts Centre), Come on Home (The Peacock Theatre), Plough and the Stars (Lyric Hammersmith/Gaiety Theatre), Common (The National Theatre), Sive, The Risen People, Major Barbara, Shibari, Alice in Funderland, Macbeth, The Rivals and The Resistable Rise of Arturo Ui (The Abbey Theatre), Every Doris Has His Day, Big Ole Piece of Cake, Bruising of Clouds (Fishamble: The New Play Company), Richard III (Fast and Loose Theatre Company), Ride On Observe the Sons of Ulster Marching Towards the Somme (Livin' Dred Theatre Company), End Time (Project Arts Centre), Danti Dan (Galloglass Theatre Company), The Colleen Bawn (Bedrock Productions and Project Arts Centre), Bad Sunday (TILT Theatre Company), Ferry Tales and 50 Ways to leave Dun Laoghaire (BDNC and Carpet Theatre Company). FNI Connect (funded by ScreenSkills Ireland) continues this OCT with former head of development at British Screen Stephen Cleary for a world-class workshop on development for producers and directors. Also, our Very own Wrap Chat host, IFTA nominated and award-winning documentary director, Paul Webster for his course 'Finding the Story: Documentary. ' And it's free. Thanks to Screenskills Ireland. www.WeAreFni.com/connect to register for tics. Applicants will be emailed code for classes afterwards.  We also have our brand new national networking evening for Writers/Directors/Producers (Only) on the 30th Oct. *Hopin and work the room. Places FLYING SO BOOK HERE ASAP. FREE!! https://hopin.to/events/fni-s-hopin-work-the-virtual-room-a-night-of-networking-for-writers-directors-producers Become a patron/Supporter of Fni on: https://www.buymeacoffee.com/fni Please share with a friend or colleague and Share/Subscribe for more content. Available on Spotify, Google Podcasts, Apple Podcasts and Stitcher. #WeAreFni #YouAreFNI #StaySafe #StayInformed #StayPositive WWW.WEAREFNI.COM for all things FNI Learn more about your ad choices. Visit megaphone.fm/adchoices

KPFA theatre critic Richard Wolinsky reviews the musical “Anastasia” at SHN Golden Gate Theatre in San Francisco through Sept. 29, 2019. SHN website The post Review: “Anastasia” at SHN Golden Gate Theatre appeared first on KPFA.

KPFA theatre critic reviews the national touring company of the Lincoln Center production of “Falsettos” by James Lapine and William Finn, at SHN Golden Gate through April 14, 2019. SHN website The post Review: Falsettos, at SHN Golden Gate Theatre appeared first on KPFA.

KPFA theatre critic Richard Wolinsky reviews the Broadway musical “Come from Away” on its national tour at the SHN Golden Gate Theatre in San Francisco through February 3, 2019. SHN website The post Review: Come from Away, at SHN Golden Gate Theatre appeared first on KPFA.

Len Cariou & Richard Wolinsky at KPFA Len Cariou, Tony Award winner for the original production of “Sweeney Todd, the Demon Barber of Fleet Street” and star of his one-man show, “Broadway and the Bard,” in conversation with Richard Wolinsky. Although recognized for his presence on television for the past eight seasons (as Tom Selleck's dyspeptic father on the long running hit series “Blue Bloods”), Cariou has enjoyed a long and distinguished career in the theatre, including originating leads in two landmark Stephen Sondheim musicals. In Broadway and the Bard, he is able to give full voice to an idea that he has harbored since his first prophetic Broadway season when he appeared as Shakespeare's Henry V and followed by a starring role in the musical Applause. In this delightful play of verse and song, Cariou combines his two great loves – Shakespeare and American Musical Comedy –into one rich and diverse tapestry. Len Cariou is a distinguished member of the Theatre Hall of Fame and a three-time Tony® nominee for Applause, A Little Night Music, and for his legendary performance as Sweeney Todd: The Demon Barber of Fleet Street (Tony®Award winner, Best Actor). His other Broadway credits include Nightwatch, Cold Storage, Teddy & Alice, Dance a Little Closer, The Speed of Darkness, Neil Simon's The Dinner Party, and Proof. Showing his range, he toured the U.S. as Cap'n Andy in Showboat, and as Nils Bohrin in Copenhagen. He scored his most recent triumph in The Gate Theatre's definitive, hit production of All My Sons in Dublin, Ireland, reprising his role as Joe Keller, for which he alsowon raves at the Geffen Theatre in Los Angeles in 2007. Broadway and the Bard plays June 21-24, 2018 at the Lesher Center for the Arts in Walnut Creek. Lesher Center website Lauren Bacall & Len Cariou in “Applause” Angela Lansbury and Len Cariou in “Sweeney Todd” The post Len Cariou appeared first on KPFA.

Five essays by five enthusiasts that follow the rise and fall of Orson Welles, the controversial Renaissance man who was an actor, film director, radio producer and theatre impresario. Essayists include film critics Peter Bradshaw and David Thomson and Sarah Churchwell. Simon Callow, Welles's biographer, tracks the transformation from schoolboy to prodigy and unpicks what really happened during the six months Welles spent at Dublin's Gate Theatre.Produced by Gemma Jenkins.