cork midsummer festival

Creative Response to Trojans

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Wiktor Koper is a Young Critic for 2023 and chose to respond in a visual way to Trojans by Company Philip Connaughton in association with Once Off Productions seen at Cork Midsummer Festival June 2023.

Since joining Young Critics I learned to consider that a response to a performance has way more possibilities then a written statement or even simple words in general. While I adore writing here I tried to challenge myself and put my artistic hand to use! 

The image is a digital poster-like graphic. The inspiration behind it derived from my experience watching the dance performance ‘Trojans’ at Cork Midsummer Festival. I can only describe ‘Trojans’ as an epic and profound piece, coincidentally loosely inspired by Virgil’s epic ‘ The Aeneid ‘. It contained amazingly talented performers that twisted and turned just like one’s interpretation of the work during the viewing. It was sure to leave anyone in a deeply contemplative and perhaps even personal mood.

Wiktor Koper is a Young Critic in 2023 and a member of W.A.C.T Youth Theatre in Co. Wexford.

Review of Freefalling

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By Ruth Cunningham

Ruth Cunningham is a member of Roscommon Youth Theatre and is a Young Critic for 2023.

[Video Text]

I’m not in the centre of this and it’s really annoying me but we’re just going to leave that. So, hello my name is Ruth Cunningham. I am from Roscommon County Youth Theatre (arguablythe best youth theatre) and I am one of your young critics for 2023! This is my review of FreeFalling.

[music]

I’m a bad boy for breakin’ her heart

And I’m free

Free fallin’

[music ends]

[Video Text]

For context, backin June we went to the Cork Midsummer Festival. We got to see three very different performances. Freefalling was my personal favourite.

So this is a one-woman show that’s directed by Lynne Parker and tells Georgina Millers’ life story. We went to see this in the Everyman theatre in Cork.

So. 14 years ago, Georgina Miller, an actor and writer from Limerick, decided to use up her life savings and go abroad to travel the world. During her travels she swam with sea turtles, swam in crystal clear blue waters, fell in love, danced on beaches and skydived. She was really living the dream. Until things took a turn for the worst. She couldn’t move her body properly and no one knew why. If she didn’t treat her mystery condition soon, she would need a ventilator to keep herself alive.

I’m just going to talk about some of the things I really enjoyed about the performance.

Other than the plot, one thing that was really cool about this performance was the set that they built for it. It was almost like a cocooning tree. I don’t know if you have ever been in the Everyman Theatre before. It’s a very big stage. It was very clever to build this set to frame the action. It was like branches that held her together with little lights on the bottom. Lynne Parker used these to illustrate the story as well. There is one section in the story where Georgina goes to Uluru. There is this myth that if you take these rocks from there (lots of tourists do it) it is meant to give you bad luck. Obviously Georgina being Georgina she took them. How they showed this on stage was that all the rest of the lights dimmed and all you could see where the little red dots on branches. I was sat back thinking “Oh my god this is so cool”.

One thing that I haven’t mentioned yet is the fact that this show had and aerial element. For the entire performance (except for the very start and the very end), Georgina was on a harness controlled by Jose Portillo. He would propel her up and down to illustrate the story. She would demonstrate her diving throughout the air – it was very cool to watch. They even used this as a storytelling mechanism. When she had a lot of mobility she was up in the air doing loads of tricks but when she was really ill and she couldn’t move she was down on the ground. I thought this was so clever.

I just want to commend Georgina’s performance. It is so hard to be on stage alone for a minute. The fact she was on her own on stage commanding that audience for the entire performance – It is just mind-blowing. She had the ability to change the entire mood of the piece depending on what she was talking about. There were people laughing, there were people crying. She made us all feel something and I think that is something to be really proud of.

For me the message of this play is that our freedom is finite and we need to appreciate our lives while we have them. Also to invest in health insurance – that is very important. I would advise that if you re going to see this play, be aware that it does talk about very emotional times. It is very heartbreaking. Personally, I got quite upset at parts of it. Just be aware of that before you are going. Be aware that you can always talk to someone if you are having problems after the play because it is important to get those feelings out.

I would give this play a 4/5 stars.

I hope that you take my opinions on board. Obviously someone could have said that they hated it and I respect that [opinion]. I hope that you take this on board and maybe you’ll agree with me. Thank you for listening.

Review of Guests of the Nation

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By Ethan Mallon

Photos by Enrique Carnicero

Derived from the Frank O’Connor short story published in 1931 and first adapted to the stage by Neil McKenzie in 1958, Guests of the Nation made its way to the stage once again for the Cork Midsummer Festival in June. Brought to life through the talents of director Pat Kiernan and writer Kevin Barry, this new adaptation both instilled its own distinct flavour to the casting and direction whilst still retaining the spirit and bite of O’Connor’s original work. Set during the Irish War for Independence, Guests of the Nation chronicles the story of 4 soldiers; two Irish, two British, as they struggle with the trials and tribulations of the war whilst inevitably hurtling towards the death of the latter by execution.

Right from the word go I was engaged by the stark humanity portrayed in the imprisoned British soldiers as they grappled with their impending fates. Whereas the majority of works depicting the War for Independence would entirely portray the British in a negative light, Barry’s script offers a more morally grey portrayal of the Brit’s, bringing into question the morale of the IRA ironically. This is not to imply that the former approach is inherently a negative, see Ken Loach’s The Wind that Shakes the Barley for what can be achieved with such an approach, but to put emphasis not on the frankly psychotic slaughter of civilians often enacted by the Black & Tans but instead the humanity of those caught up in the torture and bloodshed that ultimately had no direct ties to such barbaric actions was an impressive and bold choice.

Of course a distinct element of this adaptation I have otherwise overlooked thus far would be the all-female cast with Gina Moxley, Liz Fitzgibbon, Amy Conroy and Chloe O’Reilly portraying the IRA and British soldiers respectively. Any potential scepticism was swiftly dashed out as the play began proper, as all four women did a phenomenal job engrossing me into the narrative. I can’t say for certain whether this was a direct decision by the creative team, but it made me think during and after the show about how certain gender archetypes influence how people may make casting decisions. This isn’t to say that masculine men or feminine women for instance aren’t still present in the modern world of course, but the assumption that everyone of both genders only fall into certain demographics is simply misguided, something this show fortunately goes against the grain on.

Another key aspect of this iteration of the story is that it is not squarely resigned to the stage for its entirety, rather the audience is taking across the city of Cork much as the characters go across the Irish countryside. Not only does this result in an incredibly distinct vibe to the proceedings than I have ever seen in any stage production thus far, but it also allows the audience some time, albeit brief, to muse on the characters actions and the trajectory of the narrative. It’s not as if most stage shows don’t have a standard intermission of course, but those are usually during the middle point. By making the audience go from place to place at three separate intervals gives more instances to ponder on the story at hand and what is trying to be conveyed.

Overall I’d say that this new iteration of Guests of the Nation has more than surpassed my expectations. Through adapting O’Connor’s new work whilst integrating their own distinct elements, Kiernan and Barry have simultaneously revamped the show in some ways for a modern audience whilst still retaining the spirit of the original short story, of which still retains a strong potency a little over ninety years after its first publication.

Ethan Mallon is a member of Act Out Youth Theatre in Co. Meath and is a Young Critic for 2022.

Review of A Safe Passage

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By Andrew Keegan

Photo by Marcin Lewandowski

On the surface, “A Safe Passage” is an uncomplicated, transparent tale of a humble lighthouse keeper, a troubled young adult, and how the two come to form a deep, unlikely relationship that will ultimately change both of their lives, forever. 
 
“A Safe Passage”, written by Irene Kelleher and directed by Geoff Gould, follows two protagonists. Christy, played by Seamus O’Rourke, is a reserved and unremarkable man, who lives out his days guiding those at sea. Alongside Christy, we also follow a peculiar and unpredictable young woman known as Marilyn, played by the formerly mentioned Irene Kelleher. Throughout the sixty-minute run time, we watch as the two gradually begin to develop a bond as the pair come to know more about each other and their past. 
 
 
The production is set in 1979, New Year’s Eve, and immediately I must commend the set designer, Hannah Lane for her clever inclusion of props and other objects, such as the long-outdated radio and lantern. The use of these props allows the audience to comfortably immerse themselves fully into the show.  
 
As well as the set production, audio design plays a vital role. Sounds effects such as the crackling of the radio, can be used to convey a sense of isolation and loneliness. Another example includes the exaggerated rattling of the spilled pills hitting against the floor, which creates an uneasy atmosphere among the audience. 
 
“A Safe Passage” explores many themes throughout its duration, these being, ‘the devastating effects of isolation’, the ‘importance of human connection’, and ‘overwhelming guilt’. In my opinion, I feel that not only does the production convey these themes effectively but does so in a delicate manner as they are real world issues that affect countless people.  
 
At its core, “A Safe Passage” is a gut-wrenching, somber story of two individuals embracing their sorrow together. With passionate acting, black comedy and a gripping plot, every audience member is bound to leave the theatre astonished and wholeheartedly satisfied.

Andrew Keegan is a member of Fracture Youth Theatre in Thurles Co. Tipperary and is a Young Critic for 2022.

Introducing the Young Critics 2022!

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Youth Theatre Ireland are delighted to announce this year’s Young Critics from 14 different youth theatres across the country!

The Young Critics is one of Youth Theatre Ireland’s longest running programmes and sees 16 youth theatre members come together to learn about theatre criticism and response. The programme this year is led by Alan King, Rebecca Feely, and esteemed academic and theatre critic Dr. Karen Fricker.

The Young Critics 2022 are:

MaryJane O’Connor O’Leary, Activate Youth Theatre, Co. Cork

Dearbhla McCormick, Monaghan Youth Theatre

Liam O’Neill, Dreamstuff Youth Theatre, Co. Kilkenny

Yasna Tofail, Limerick Youth Theatre

Helen McCarthy, Explore Youth Theatre, Co. Kildare

Chaya Smyth, Dublin Youth Theatre

Cian Griffin, WACT Youth Theatre, Co. Wexford

Amelie Prone, Kildare Youth Theatre

James Acheson Dennehy, Stagecraft Youth Theatre, Co. Tipperary

Keeley Guilfoyle, Clare Youth Theatre

Andrew Keegan, Fracture Youth Theatre, Co. Tipperary

Ethan Mallon, Act Out Youth Theatre, Co. Meath

Mia Clinch, Sligo Youth Theatre

Molly Crilly, Act Out Youth Theatre, Co. Meath

Nneka Okosi, MAD Youth Theatre, Co. Louth

Becca McGlone, Sligo Youth Theatre

This year the crew have already been to the Cork Midsummer Festival where they saw A Safe Passage by Irene Kelleher, Guests of the Nation by CorcaDorca, and they also had the opportunity to see some visual art installations across the city.

The Young Critics will come together again from October 7th-9th for Dublin Theatre Festival, and the weekend will culminate with a panel discussion at The Project Arts Centre on October 9th at 1pm. Tickets are free and you can find out more on Dublin Theatre Festival’s website.

You can find out more about the Young Critics programme and other programmes for youth theatre members here.

Our Summer of Shows 2016 – NAYD Young Critics

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For the last three summers the NAYD Young Critics have been given the task of selecting a professional theatre production to see over the summer months.

The aim is to encourage them to see more theatre independently of the NAYD programme and create a culture of theatre going not only amongst the Young Critics, but also their wider youth theatre community.

Ideally it should be on in their local arts centre or venue and they are encouraged and supported to make a group booking for their own youth theatre to attend also.

NAYD, along with the participating local arts centres support this initiative through discounts, youth theatre group rates and the NAYD Go See YT Fund.

They were encouraged to utilise their own programming eye and select work that they would then be able to create a critical response to. These critical responses take the form of  short video blog reviews or podcasts, where they discuss the shows.

Since the start of May, the Young Critics have been seeing work and then writing, shooting and editing their own individual critical response vlogs. Some of these take the form of straight up critical responses, while others utilise comedy, drama and other techniques to respond to the work.

What did they see?

Summer Shows 2016

In the last two years there were a  large number of One Man/ One Woman shows touring the country.This year there were more medium scale touring productions on offer, perhaps suggesting that there is a broader range of work on offer. Or perhaps companies are being better funded then in previous years.

Decadent Theatre Company led the way with their production of The Weir by Conor McPherson, which was seen by three Young Critics in venues in Cork, Kilkenny and Limerick.

Chapterhouse Theatre Company from the UK toured their production of Sense and Sensibility to stately homes in Kilkenney and Kerry was reviewed by two of our Young Critics.

Following his Olivier Award winning success, Pat Kinevane’s Underneath continues it’s extensive tour with Fishamble.  It was viewed and reviewed by two of our Young Critics at the Townhall Cavan and Droichead Arts Centre.

Another show at Droichead Arts Centre was Brokentalkers highly acclaimed The Blue Boy. You can view Young Critic Jack Synott’s critical analysis here

Touring to Sligo was The Everyman, Cork’s production of God Bless The Child, which caught the attention of our Young Critic from Sligo Youth Theatre.

For our two Dublin based Young Critics, Philip McMahon’s Town is Dead proved a popular choice at the Peacock Theatre.

Also in Dublin, was the Gate’s production of Who’s Afraid of Virginia Woolf by Edward Albee, which was reviewed by one of our Young Critics

Regionally, local productions included Lovely Leitrim at the Ramor Theatre Virginia, Romeo and Juliet at An Tain Dundalk, The State of The Nation at The Balor Arts Centre, Co. Donegal, and The Dark Kingdom at the Granary Theatre as part of the Cork Midsummer Festival.

The-State-Of-The-Nation-resize

Through the month of August we will be sharing a selection of their critical responses across the Young Critics Blog.

In September we will be sharing some written reviews of work in the run up to the Young Critics Panel as part of the Dublin Theatre Festival.

It has been a really productive few months for the NAYD Young Critics and we look forward to sharing our responses to the work with you all.

A big thanks to all the venues and companies who continue to support the initiative through discounts and group rates.

 

 

A Summer of Shows with The Shadow Of A Gunman

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It’s been a fabulously productive summer for this year’s Young Critics.

As part of our summer initiative, and with the support of their local arts centres and venues, they have been seeing productions the length and breath of the country.

They selected a show and  planned a theatre trip for their youth theatre friends. Their own curatorial skills were being put to the test as they selected a show that would hold the interest of their peers.

The range of productions they have managed to see has been truly impressive. There was lots of New Irish Writing on display with many shows touring to local arts centres. The One Man Show is a staple of the touring circuits and there was no shortage of these on offer.

Young Critics Summer Shows

Several Young Critics went to see Mikel Murfi’s sublime The Man In The Woman’s Shoes, and Pat Kinevane’s equally sublime Underneath.

Michael Hillard Mulcahy’s After Sarah Miles, set in Dingle, was attend by Dusigh’s Young Critic from Tralee.

The two Young Critics from Footsteps Youth Theatre attended Seamus Moran’s Have a Heart at the Friars Gate Theatre Kilmallock, Co.Limerick.

There were also plenty of full productions on offer including An Grianan’s touring production of Frank Pig Says Hello by Pat McCabe and Martin Lynch’s My English Tongue, My Irish Heart.

There were World Premieres aplenty with Co. Carlow Youth Theatre members being treated to Jockey by Willfredd Theatre Co at Visual, Carlow.

Before Monsters Were Made by Ross Dungan was another World Premiere at Project Arts Centre as was My Second Self at the Civic Theatre and The Ballad of Charlie & Cate at the Cork Midsummer Festival.

Our Young Critic from Donegal Youth Theatre attended Annie The Musical at The Balor Theatre.

Finally Niamh Murphy, one of our Young Critics from County Wexford Youth Theatre attended Sean O’Casey’s The Shadow of A Gunman at the Abbey Theatre in Dublin.

Here is her very fine video blog review of the production.

Have you seen the show?

Would you agree with Niamh?

Leaving an Imprint

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Rian

Fabulous Beast / Liam Ó Maonlaí / Michael Keegan-Dolan

Cork Opera House

Reviewed 22 June 2012 by Sarah Brett, Niamh McCormack, Sarah McGooghan, Megan Moroney, and Aaron Mullaney

Rian as gaeilge translates as ‘imprint’. Inspired by Sean O’Riada (one of the most influential icons in the mid-20th century revival of Irish traditional music), Liam Ó Maonlaí ‘s music inspires powerful and emotional movement from both the cast of contemporary dancers, and, at the show’s end, the audience. The experience is unique and awakens the primal imprint of rhythm and joy within us. Along with O’Maonlai, Michael Keegan-Dolan, artistic director of Fabulous Beast Dance Theatre, has created a beautiful, passionate and moving ensemble of music and dance.

The technical abilities of both the dancers and musicians are evident throughout the performance. The organic beat of the dancers’ bare feet on the floor reinforced that of the bodhrán, combining to create an electric atmosphere. Although at times the dancers are not directly in sync with each other, the contemporary movement offers a context for this. Rian is a traditional Irish music lover’s paradise but the tribal beats and foreign and modern influences mean it is not exclusively so.

The stage layout was very striking as eerie shadows cast upon the light green backdrop helped create a feel of nature throughout the show – like how fire casts shadows upon the earth around it. Also the traditional semi-circular layout of the musicians and dancers worked well, as the audience felt as though they were taking part in a real Irish session.

There were certain aspects of the performance, however, that felt somewhat obvious and perhaps stereotypical. The nature of the stage layout made it difficult to see the whole performance at times; and there were some musical faux pas in terms of harmony. The ending of the performance was somewhat misleading as after the cast took their bow the show continued on, which was fortunate as the audience was then asked to come up on stage and dance with the cast. As minor as these flaws were, they were trifling compared to the overall performance of this outstanding show.

Rian gives a beautiful impression of the Irish culture and spirit. The performance offers an open and inclusive look into the Irish community. The dancers’ vivacious performance created an excitement in the audience and throughout the performance you had to suppress the urge to jump on stage and join the dancers. At the end, we finally were given this chance! Overall, this performance left an imprint on its audience and we highly recommend you to go and see it.

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