Edel and Liam are living out the final hours in a remote Irish farmhouse at the base of a mountain. Liam frantically rat-a-tats his memories on a battered old typewriter, while Edel tries to connect with their children to say their final goodbyes.

Set against an extraordinary apocalyptic backdrop, Denouement is a funny, tragic and slightly absurd observation of what remains when everything else is gone. As the world collapses around them, Edel and Liam show the might of the human spirit as they navigate the end of the world with humour, honesty, and decades of shared history.

Director: Jimmy Fay

Set and Costume Design: Maree Kearns

Projection Design: Douglas O’Connell

Sound Design and Composition: Chris Warner

Photography: Ciaran Bagnall

Behind the shiny door of Hazel Robinson's immaculate London home, things aren't as good as they look. Her plastic surgeon husband, Richard, has embarked on his latest charitable mission to Haiti, leaving the heavily pregnant Hazel to cope with a failing business and a problem son. When a professional nanny arrives unannounced on her doorstep, Hazel finds her home under the shadow of a seemingly perfect stranger, and one who has an agenda of her own. 

Director: Rhiann Jeffrey

Writer: Nancy Harris

Cast:

Lisa Dwyer Hogg as Hazel Robinson

Mark Huberman as Richard Robinson

Jeanne Nicole Ní Áinle as Annie

Canice Doran/Milo Payne as Daniel

Creatives:

Set and Costume Design: Maree Kearns

Sound Design: Garth McConaghie

Choreographer: Paula O'Reilly

Assistant Director: Debra Hill

In this most unlikely of artistic collaborations, leading experimental theatre company Brokentalkers join forces with one of Ireland’s foremost traditional Irish musicians, Danny O’Mahony.

Danny has dedicated his life to the mastery of his instrument as well as to the preservation and performance of Irish traditional music.

Now, after 40 years of breathing life into centuries-old tunes to honour the memory of those who have come before him, this walking repository of an unquantifiable repertoire of ancient sonic heirlooms is finally taking a breath, a moment to stop and consider what this life long dedication has cost him.

Written by Feidlim Cannon, Gary Keegan & Danny O’Mahony
Performed by: Danny O’Mahony, Gary Keegan & Emily Kilkenny Roddy
Movement Director: Eddie Kay
Set Design: Sabine Dargent
Costume Design: Sarah Foley
Sound Design & Composition: Valgeir Sigurðsson
Dramaturg: Bjarni Jonsson
Mask Design & Construction: Ger Clancy
Creative Producer: Rachel Bergin 

Photography: Ste Murray

A sunny afternoon. Sally, Vi and Lena sit in a yard drinking tea, on the other side of the fence stands Mrs Jarrett. “Don’t look now but there’s someone watching us”

When Mrs Jarrett steps off the street and into Sally’s yard, her presence brings the outside world in and horrific events of the past, unspoken, emerge to the fore.

Intimate and vast, domestic and wild, Churchill’s vision presents a world hurtling towards its own destruction. Escaped Alone viciously satirises contemporary capitalist culture while it celebrates the (often unheard) voices of aging women.

Written by Caryl Churchill
Directed by Annabelle Comyn
Set and Costume Designer Tom Piper
Composer and Sound Designer Philip Stewart

Cast 

Sorcha Cusack as Sally 
Anna Healy as Mrs Jarrett
Ruth McCabe as Vi 
Deirdre Monaghan as Lena 

Photography Ros Kavanagh

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

Written by: Patricia Cornelius

Directed by: Jennifer Jennings

Composer: Oberman Knocks

Choreographer: Philip Connaughton

Performed by: Kate Stanley Brennan, Aisling O’Mara, Nicky Lewis

Sound Designer: Jenny O’Malley

Costume Designer: Molly O’Cathain

Set Designer: Emmett Scanlon

Stage Manager: Clare Howe

Chief LX : John Gunning

Producer

Carla Rogers

Photographer

Therese Rafter

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

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

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)

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

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