This Sh*t Happens All The Time

Who we love shouldn’t come with a death threat.

A young woman falls in love. Her girlfriend’s jealous ex-boyfriend responds with murderous intent. In 2022 he'd be arrested but in Belfast 1992 homophobic hate crime law doesn’t exist. This Sh*t Happens All the Time is a powerful new one-woman play from Amanda Verlaque, which uses personal experience to explore misogyny, coercive control, and queer-baiting to ask why the privileges and protections granted to most of society remain disgracefully out of reach for Northern Ireland’s LGBT+ community.

Performed by Caoimhe Farren

Writer Amanda Verlaque

Director Rhiann Jeffrey

Sound Design and Composition Garth McConaghie

Costume Design Erin Charteris

Photography Carrie Davenport

Irish National Opera

Theatre Lovett

Abbey Theatre

Conductor :: Richard Peirson

Directors :: Muireann Ahern and Louis Lovett

Set & Costume Designer :: Jamie Vartan

Video Designer :: Jack Phelan

Sound Editor :: Carl Kennedy

Chief LX/Programmer :: Eoin McNinch

Lighting Technicians :: Eoin Byrne, David Carpenter, Kevin McFadden, Sean Treacy

Neon Signs made by Tomek Rola

Production Managers :: Rob Furey, Gavin O’Sullivan

Company Stage Manager :: Paula Tierney

Deputy Stage Manager :: Catherine Buffrey

Photography :: Patrick Redmond

Branar Téatar do Pháistí presents

Sruth na Teanga

commissioned by Galway 2020

Sruth na Teanga is an immersive theatre event that imaginatively realises the evolution and life of the Irish language.

Groups travel through 5 worlds that will inspire and bring the story of the language to life. Branar’s signature storytelling combines puppetry, music, video mapping and live performance in an experience not to be missed.

Director :: Marc Mac Lochlain

Scenographic Design :: Maeve Clancy

Costume Design :: Elaine Mears

Composition :: Michael Chang

Sound Design :: Adrian Ferry

Lighting Team :: Paul Kelly, Susan Collins, Michael Foley

Production Manager :: Adam Fitzsimons

Stage Manager :: Sorcha Ní Chroinin

Photography :: Colm Hogan

The Boundaries Between Us Endure takes you amongst sound and sculptures on the factory floor to a soundtrack of electronic music and live harp, as the space takes on new dimensions with projected visuals and lighting design.

Drawing inspiration from the industrialisation of survival and its legacies, rites of passage and contemporary ceremony, The Boundaries Between Us Endure sees the collaborating artists expanding new creative horizons in an exhilarating blend of music, performance, sculpture, light and sound framed within the histories of the National Sculpture Factory itself.

Concept & Direction :: Peter Power

Performer :: Aisling Ennis

Sculpture :: Sophie Gough

Music & Sound Design :: Peter Power

Video Design :: David Mathuna

Chief LX :: Hanan Sheedy

Production Management :: Dobz O’Brien

A bleak and beautiful story, told through the folk music of Ireland and America.

1865 – the end of the US Civil War. Eliza Duane Mooney, daughter of an Irish emigrant, walks across America in search of her brother Jeddo, a child soldier in the Confederate army. As Eliza and Jeddo’s stories unfold, they shine a light on the stark realities of war, its invisible rise, and what is left in its wake.

Presented as a theatre-gig, Redemption Falls weaves traditional folk song and music, visceral imagery and evocative storytelling in a breathtaking and intense theatrical experience.

Producer: Jo Cummins

Set Design: Lian Bell

Costume Design: Cherie White

Chief LX :: Éanna Whealan

Production Manager: Baz O'Donovan

Stage Manager: Sorcha Ní Chróinín

Photography Marta Barcikowska

Conceived by: Jessica Kennedy, Megan Kennedy, John McIlduff, Brian Irvine
Created and Directed by: Jessica Kennedy, Megan Kennedy, John Mcllduff
Choreography: Jessica Kennedy, Megan Kennedy in collaboration with the cast
Composers: Brian Irvine, James Joys
Lyrics: John Mcllduff
Set Design: Sabine Dargent
Costume Design: Deirdre Dwyer

Chief LX :: Veronica Foo

Lighting technicians :: Eoin Winning

Production Mangers :: Sean Dennehy, Conor Mullan

Stage Manager :: Baz O’Donovan

Photography Luca Truffarelli

In a kitchen, in a theatre, two storytellers and their audience find something remarkable — a very old man with enormous wings. The wise neighbour woman tells us he’s an angel. The priest says he’s an imposter. Pilgrims flock to see him, hoping to be healed by him, hoping for a gawp. They leave with something different than what they expected.

Adapted from Gabriel García Márquez’s Un señor muy viejo con unas alas enormes, Collapsing Horse bring this classic piece of magical realism to the stage in search of its beautiful, strange, emotional richness.

Based on the short story by Gabriel García Márquez

Adapted for the stage by Dan Colley, Manus Halligan and Genevieve Hulme-Beaman

Directed by :: Dan Colley

Set and Props Design by :: Andrew Clancy

Composition and Sound Design by :: Alma Kelliher

Chief LX Riverbank and Peacock :: Gary Maguire

Chief LX Project Arts Centre :: Sarah Jane Williams

Lighting Technician Project Arts Centre :: Faith Boucher

Production Manager :: Eoin Kilkenny

Photography :: Ste Murray

Sure Look It Fuck It

Written and performed by Clare Dunne

Presented by This is Pop Baby and Project Arts Centre

Producer :: Jennifer Jennings

Director :: Tom Creed

Music :: Ailbhe Dunne

Sound Design :: Ivan Birthistle

Costume Design ::Katie Davenport

Chief LX :: Laura Honan

Lighting technicians :: John Crudden, Paul Doran, Conor Burnell

Photography Fiona Morgan and Adam Matthews (final image)

Direction and Choreography: Jessica Kennedy, Megan Kennedy
created in collaboration with the cast

Scenography :: Valerie Reid
Music :: Denis Clohessy
Costumes :: Sarah Foley

Chief LX :: Simon Burke

Lighting technicians :: Hannah Reid, Shane Gill

Production Manager :: Stephen Dodd

Stage Manager :: Baz O’Donovan

Videography Luca Truffarelli
Photography Fionn McCann

Theatre Lovett

This daring adaptation of Mary Shelley’s classic re-imagines Victor Frankenstein as a gene-splicing molecular biologist who creates human life from his own DNA with catastrophic results.

Speaking from a holding cell, Frankenstein is desperate to set the record straight.

Writer: Michael West

Director :: Muireann Ahern

Cast :: Louis Lovett

Set Design :: Ger Clancy

Composer and Sound Design :: Dunk Murphy

Ingénieur :: Jack Phelan

Sculptural Works :: Ger Clancy and Matthew Kennedy in association with ArtFx Ltd.

Make Up Consultant :: Lorraine McCrann

Costume Design :: Liadain Kaminska

Chief LX/Programmer :: Laura Honan

Production Manager: Lisa Mahony

Stage Manager: Clare Howe

Producer: Jeanine MacQuarrie

Photo Credit: Ros Kavanagh

Promo Trailer: Mark Cantan

Junk Ensemble

Performed in the atmospheric Sunbeam Bingo Hall in Blackpool Cork, the idea of the doppelgänger is played out, exploring themes of care and the beautiful banality of life. What happens when your double knocks on the door? How does the story of your life play out through a bingo game?

Direction and Choreography: Jessica Kennedy, Megan Kennedy

Created in collaboration with the cast

Composition and Sound Design: Peter Power

Costume Design: Laura Perrem

Photography: Luca Truffarelli

Production Manager: Tim Feehily

​Stage Manager: Mags O'Donoghue

Written and Performed by James Riordan

Original Music by Anna Mullarkey

Directed by Lara Campbell

Set Design :: Gavin Morgan

Lighting Technicians :: Marie Hegarthy, Ronan Gallagher, Shannon Lights, Frank Commins

Stage Manager :: Catherine Dennings

Photography Julia Dunin

The Lir

Directed by Ronan Phelan

Set and Costume Design by Katie Davenport

Sound Design Carl Kennedy

Photography Keith Dixon

by Louse White

Performers Philip Connaughton, Lucy Miller, Michelle O’Rouke

Set Design Lian Bell

Costume Design Sarah Bacon

Sound Design Jack Cawley

Chief LX :: Tomek Rola

Production Manager :: Rob Furey

Photography Emilia Krysztofiak

Written by Emmet Kirwan
Directed by Phillip McMahon
Performed by Emmet Kirwan & Ian Lloyd Anderson
Sound Design Ivan Birthistle

Lighting team :: Stephen Dodd, John Crudden

Photography Ros Kavanagh

Prime Cut and Tinderbox as part of On The Edge

Written by Fintan Brady

Performed by Ryan McParland

Director Emma Jordan

Set Design Ciaran Bagnall

Sound Design Phil Kieran

Movement Director Oona Doherty

Mark and Violet have run away from technology-obsessed reality to raise their future child closer to nature. No enhancements, no bionic super-limbs, no shopping for perfect embryos. They want everything, from their flesh to their love to be real. But there’s no love without fear of loss. So will you get old with me? Violet?

Override, written by Stacey Gregg (winner Irish Times Theatre Awards Best New Play 2015), examines the boundaries of our faith in science. Turned by Sophie Motley into a digital spectacle with visceral audio visual design, an unsettlingly funny, bitter love letter to the future.

Director Sophie Motley

Video Design Kilian Waters

Sound Design Peter Power

Inspired by the previously untold stories of the 7th Battalion of the Royal Dublin Fusiliers who swapped the rugby field for the battlefield – PALS gave audiences a vivid glimpse into the life and death of a brotherhood of players who were wiped out in the devastating trenches of Gallipoli.

Directed by Louise Lowe

Designed by Owen Boss

Sound Design by Carl Kennedy

Costume Design by Niamh Lunny

Production Manager Adam Fitzsimons

THE BOYS OF FOLEY STREET was a large-scale durational performance, presented as part of the 2012 Dublin Theatre Festival. Our most ambitious project to date; Performing to over 1,850 audience members in 456 shows durationally each day of the festival and exploring the third regeneration of the area, it was a breathing, living exploration of the decade 1971- 1981.

Reflecting an era where recession and unemployment fed male aggression and thievery. It reflected a time all too similar to our present. Embedding RFID technology it chronicled a period of immense change, the demolition of tenement housing, the impact and rise of heroin, the Dublin / Monaghan bombings, the Concerned Parents against drugs movement and ultimately a community imploding in on itself.

The Boys of Foley Street was curated and cued entirely by the audience based on the choices they made within the performance using interactive RFID (radio frequency identification) technology.

Directed by Louise Lowe

Designed by Owen Boss

Sound Design by Carl Kennedy

Production Manager Adam Fitzsimons