 Pat Kinevane awarded a coveted Herald Archangel Award for his sustained and excellent contribution to the Edinburgh Festival Fringe At a reception in the Festival theatre in Edinburgh today, Sunday 11 August, renowned actor and playwright Pat Kinevane was awarded a highly coveted Herald Archangel Award for his ‘sustained and excellent contribution’ to Edinburgh Festival Fringe. Pat is currently performing in Fishamble: The New Company’s production of Before (written and performed by Pat, and directed by Jim Culleton) at Dance Base in Edinburgh as part of the Fringe Festival. This acclaimed production runs in Edinburgh until 25 August. This award coincides with the month that Pat celebrates 30 years working in theatre as a professional actor. Previous Archangel award winners include Olwen Fouere, Enda Walsh, Alan Cumming, and The Wooster Group. Speaking about the award Pat Kinevane said: “The work that we brought over here is really the product of a beautiful working relationship between me and Fishamble. It’s been a huge creative team effort, so this award is something that is really reflective of that in a lovely way. It’s about people minding each other, looking after each other, caring for each other, and protecting each other in that really creative space. That sort of angelic feeling is really important to me, and this award is just so appropriately reflective of that. Jim Culleton taking my writing under his wing, that’s the main thrust of it really for me, he took it and he fully developed it and gave it all that care, and it’s very reflective of this award. I always carry my cards with me, and I happened to have brought my card of the Archangel Michael with me to Edinburgh! Archangels are fierce protectors of us all, but also very childlike, and that’s how I feel about the fun we have, and the work we do. That process is really loving and very protective as well, almost childlike in its creativity. It’s lovely, it’s really lovely. I’ve always been full of gratitude for that journey and process, but this is just an acknowledgement really for an Irish theatre company being recognised internationally. It’s really amazing, out of all the shows in this massive festival, that they’re recognising, from start to finish, the journey of Fishamble and me. And we’re not finished yet!” Fishamble and Pat Kinevane will tour throughout Ireland in September and October, including a presentation of all four plays (Forgotten, Silent, Underneath and Before) at the Pavilion Theatre, Dún Laoghaire, from 11 – 14 September. Book tickets here. Pat and Fishamble: The New Play Company have worked together for many years. Fishamble produced Pat’s first play The Nun’s Wood in 1998, followed by his second play The Plains of Enna in 1999. Fishamble is very proud to have commissioned, developed, and produced three solo plays written and performed by Pat, which continue to tour extensively. They are Forgotten (since 2006), Silent (since 2011) Underneath (since 2014), and Before (since 2018), all directed by Jim Culleton. The plays have been performed in over 60 venues throughout Ireland. Silent has won Olivier, Fringe First, Herald Angel and Argus Angel awards, and Underneathwon Fringe First, LA Stage Raw and Adelaide Fringe Best Theatre awards, and was nominated for Offie/Off West End and Total Theatre awards. The productions have toured throughout Europe, with partners including Dance Base (Edinburgh), Soho Theatre (London), CCI (Paris), Prague Fringe Festival, Lokal Festival (Reykjavik), International Theatre Festival (Sibiu), Tron Theatre (Glasgow), Cymru Theatr Clwyd, Irish Festival (Oulu), GLAS (Geneva), Home (Manchester), INFANT Festival (Novi Sad), Brighton Festival, Hotbed Festival (Cambridge), nu:write (Zagreb), and to Leuven, Kaiserslautern, Trabzon, and all across Bulgaria. In the US, in association with Georganne Aldrich Heller, they were presented by the Irish Arts Center, New York, and in Boston Center for the Arts, the Source Theatre in Washington D.C. and the Odyssey Theatre in Los Angeles. In Australia, Silent toured in Perth and Melbourne, and Underneath toured to Adelaide, pretended by Arts Project Australia. The Pat Kinevane Trilogy continues to tour extensively in Ireland and abroad. Before had its world premiere in Ireland in 2018, its UK premiere at the Edinburgh Festival Fringe this year, and will have its US premiere at the Odyssey Theatre in Los Angeles this November. About Before, A new play with much music by Pat Kinevane: From the team that brought you Forgotten, Underneath and the Olivier Award-winning Silent, Before is a new play with much music, set in Clery’s of Dublin, on the very day this iconic department store shuts - for good. Pontius is inside, trying to choose a gift for his estranged daughter, whom he hasn’t seen for almost 20 years. He will meet her in an hour. This father’s journey is both beautiful and strange, from the isolation of his Midlands home, to the madness of O’Connell Street. Some folk are impossible to buy for… Before was commissioned by Fishamble and has been in development with the support of the Arts Council, National Theatre Studio (London), Pavilion Theatre, the RTÉ Concert Orchestra, Georganne Aldrich Heller, Robert Leroy, and The Strollers Touring Network. ‘Kinevane’s performance works like a spell… a real showstopper' ★★★★ Irish Times Fishamble: The New Play Company Fishamble is an Olivier Award-winning, internationally acclaimed Irish theatre company, which discovers, develops and produces new work, across a range of scales. In 2018 Fishamble celebrated 30 years of new plays in Ireland through its many productions and extensive development programme. Fishamble is funded by The Arts Council and Dublin City Council. Its international touring is supported by Culture Ireland. Press information: Sinead O’Doherty, O’Doherty Communications 086 259 1070 sinead@odohertycommunications.com
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  We are delighted to announce the cast of The Alternative: Karen Ardiff, Lorcan Cranitch, Maeve Fitzgerald, Fionntán Larney, Rory Nolan, Rachel O'Byrne, and Arthur Riordan. "We're absolutely delighted to have this incredible cast for The Alternative. These are actors we've admired for years, it's a little surreal having them perform our script. We've already done a reading of an early draft with them, which was brilliant, and we're currently in the process of making final tweaks with the help of Fishamble and The Lyric Theatre." - Michael Patrick, Co-Writer of THE ALTERNATIVE The Alternative tours the island of Ireland in September and October 2019 in association with Draíocht, The Everyman, Lime Tree Theatre & Belltable, Lyric Theatre, Pavilion Theatre, and Town Hall Theatre, and will premiere as part of Dublin Theatre Festival. The year is 2019 and it is the eve of the Referendum. British Prime Minister Ursula Lysaght is returning to her hometown of Dublin to convince voters to Remain. With the threat of chaos in the streets, and personal conflict behind the scenes, the final debate is set to begin at BBC Dublin: Should Ireland leave the UK? TOUR DATES 18 - 21 September - The Everyman, Cork 24 - 29 September - Pavillion Theatre, Dún Laoghaire, Dublin 1 October - Town Hall Theatre, Galway 3 October - Belltable Arts Centre, Limerick 4 - 5 October - Draíocht, Blanchardstown, Dublin 8 - 13 October - Lyric Theatre, Belfast Supported by
On 13 June 2019, co-writers of Fishamble's THE ALTERNATIVE Michael Patrick and Oisín Kearney wrote a speech to address the topic: 'Reframing Our Borders - What If?' at On The Edge, the Theatre Forum and Theatre NI Conference 2019. In the speech, delivered by Oisín Kearney, the writers discuss being Irish in Cambridge, their new play The Alternative, produced by Fishamble as part of Fishamble's A Play For Ireland programme, and issues of identity in Northern Ireland and the Republic of Ireland. Due to technical difficulties the video is an abridged version of the full speech, which can be found below. Reframing Our Borders - What If? Oisín Kearney and Michael Patrick talk about their play for Ireland, THE ALTERNATIVE, and some questions it poses. What if Ireland was still part of the United Kingdom? What if Home Rule had passed? What if there was no War of Independence? No Civil War? No partition? What if the island had only one soccer team?
---- Good afternoon. First of all, thank you to Theatre Forum and Theatre NI for inviting us to speak here today. It’s a real honour to be part of the conference and to be in such a beautiful venue. I would like to apologise on behalf of my co-writer Michael Patrick for his absence. He would love to be here, but he’s currently too busy wearing ridiculous wigs and tights at the Royal Shakespeare Company. He’s an actor and a writer from Belfast, and I am a director and writer from Warrenpoint, Co Down. We did however, prepare this speech together. So if there’s anything you vehemently disagree with, lets just say those are the that bits he wrote. When I met Irma a few months ago, she asked me if I could speak today for about 25 minutes about our new play, about Michael and I’s process and our perspective on borders, and how we might reframe them through asking ‘what if?’ I’ll do my best to stay within the borders of that brief. Michael and I are delighted that Fishamble: The New Play Company chose our play, ‘The Alternative’, as the winner of their ‘A PLAY FOR IRELAND’ initiative. The play will premiere in the Dublin Theatre Festival as part of its nationwide tour in association with The Everyman, Pavilion Theatre, Lime Tree & Belltable, Galway Town Hall Theatre, The Draíocht, and The Lyric Theatre Belfast in September and October 2019. To give you some context, I’ll tell you a bit about Fishamble’s process in creating the scheme. To quote their website, Fishamble is “Ireland’s only Olivier Award-winning theatre company which, as well as producing internationally renowned productions, supports the writers of 60% of all new plays produced in Ireland each year. It wants to encourage people all over Ireland to express themselves through theatre, to engage the public in making plays, and to create work for audiences throughout Ireland, north and south.” In 2011, Fishamble ran TINY PLAYS FOR IRELAND, playing to sell out runs across the country, and in 2018, as part of its 30th year, Fishamble embarked upon a search for A PLAY FOR IRELAND. The brief was to find: “one, big, ambitious play, that bursts with humanity and tackles a subject about which the playwright feels passionate - A PLAY FOR IRELAND that captures the zeitgeist of the country, that demands to be produced.” So... no pressure there... Of 372 submissions, 30 plays were chosen to be developed in partnership with 6 venues, and 6 were then shortlisted for table-read workshops. Finally, after much debate and discussion, Fishamble chose ‘The Alternative’. Certainly, it means a lot to us, as storytellers from north of the border on this island, to be commissioned to write a PLAY FOR IRELAND. In approaching the task, we were challenged to think about the state of the nation, the whole nation, the whole island, the whole Irish diaspora. We asked ourselves: what kind of a play should we write for Ireland at this time? What does Ireland want to hear, and what do we have to say? In writing “The Alternative”, we ask our audience to imagine something: What if Ireland was still part of the United Kingdom? What if Home Rule had passed? What if there was no War of Independence? No Civil War? No partition? What if the island had only one soccer team? Clearly things would be very different - and not just because a full island soccer team would obviously have won the Italia ‘90 World Cup. Dun Laoghaire is Kingstown. Belfast is the second city of the Irish state, not Cork. We pay in pounds across the island. And Padraig Pearse is merely a school teacher who would have helped to write an obscure Bolshevik manifesto, but instead was one of the defenders of Home Rule Act in 1913. Now, we have set the play in a television studio - BBC Dublin, in an alternate reality where the entire island of Ireland is much like Northern Ireland is today - a constituent part of the United Kingdom. The action takes place on the eve of a referendum, which asks the question - Should Ireland be independent? British Prime Minister Ursula Lysaght is returning to her hometown of Dublin to convince voters to Remain. The play imagines a world where things happened differently. A world in which Home Rule passed in 1913 and Irish nationalism was accommodated within the United Kingdom. How things could have been different, if an Irish government put down the Easter Rising without executing the leaders. How things could have been different, if that Ireland had maintained a separation between church and state. How things could have been different if Irishness and Britishness had developed in a way that they were not mutually exclusive. And, if Ireland had the choice to become independent from Britain through a referendum… How would the people vote? What is the Irish nation? Who are the people within it? And what makes them tick? For the play, we have six characters, but focus on the struggles of a father-daughter relationship against the backdrop of the recent passing of their wife and mother respectively. This fractious relationship is built on misunderstanding, miscommunication, and deceit, and it reflects the wider relationships of individuals who have been forced to make a decision about their nationality and to vote Leave or Remain. Sometimes these bigger questions are the ones that people obsess over. But how can you have a healthy nation without the everyday business of living? How can you publicly choose the future of your country, if you do not first look at the smaller private decisions which shape your lives? So, how did Michael and I come to write this piece? Well we first met in Cambridge University. I was studying Politics and Michael Physics and Material Sciences (I’ve no clue how that relates to acting and writing, but there you go). We socialised through our college drama society, and together we ran the University’s Ireland society… which, apart from being an excuse to get University funding to buy potato bread, was a place where we became very conscious of our Irishness, and what that meant to us. As two men who consider ourselves Irish, we both grew up in Northern Ireland, where identity is such a tumultuous issue - and there we were in the belly of the beast of British elitism, an institution dominated by the ruling British classes. Incidentally, Cambridge was celebrating its 800th anniversary when we arrived. So coming over there from Ireland, insecure and a chip on our shoulders, and seeing banners everywhere just saying “800 years” - it was like “you don’t need to rub it in lads!”. I vividly remember being in a pub on my freshers’ week and being called a ‘terrorist’ because of my accent. This was 10 years ago. I also remember being told that I was not Irish. I was Northern Irish, which meant I was separate... different. Other. Of course, this made us become very defensive of our Irish identity, and we probably played up to it. It became something that was almost cartoonish, a parody of Irishness, a heightened identifier to prove our difference to our British friends, the border between them and us. We attended Churchill college, named after Prime Minister Winston Churchill who was one of them fellas who had done his fair share of meddling in Ireland. The college is known as keeping in its archives some of Margaret Thatcher’s handbags. And at formal dinners, a hall full of hundreds of students would stand up before the weekly meal, raise a glass, and proclaim “To The Queen.” followed by “To Sir Winston”. Needless to say, Michael and I didn’t feel like standing up. We sat stoically, and did not utter a word, much to the confusion of our college mates who probably thought we just being difficult. We probably lived up to the observation of Winston Churchill about the Irish, when he said: "We have always found the Irish a bit odd. They refuse to be English." And certainly, going to university in Cambridge became somewhat of a daily exercise in refusing to be English. I was heartened when I learned that Charles Stewart Parnell had attended Cambridge as an undergraduate, but he was ‘sent down’ after getting into a drunken fight with two men who sold manure. Shit for fertilisation. So, you know, Michael and I tried our best not to follow his lead, and get into trouble with the authorities. We were the jesters - the intelligent fools, in the mode of Fr Ted or Dylan Moran. I think this is quite a common thing when people first leave this country. To think about where your from, what it means to you and to project it outwards. But over the years we’ve constantly been talking and thinking and refining what our identity means to us. Why is it so important? And what it means to think of ourselves as Irish. Especially, coming from the North. After University I moved to Belfast to train in TV & film production, whilst Michael trained as an actor in Mountview. We met again when he returned to Belfast, and we began creating theatre under the name of Pan Narrans - the Storytelling Ape. Him acting. Me directing. We recently co-wrote a play as part of Fishambles’ ‘Show In A Bag’ scheme, again very proud to be working with Fishamble, who consider themselves an all island company - and performed that show at Dublin Fringe Festival, Edinburgh Fringe Festival, and at several venues across Ireland. ‘My Left Nut’ was based on the true story of Michael developing a swelling on his testicle when he was 15, that grew to the size of a large avocado. He was unable to talk to anyone about it for years, mainly because his father had passed away when he was younger. He was just too embarrassed to tell his mum that there was something wrong with his balls… especially since Michael genuinely believed it was caused by masturbating too much. But also because he didn’t want to dispel the rumour in school that he was well-endowed. It’s a comedy about grief, growing up, masculinity, and love of friends and family. We had a fantastic time creating the show and we carried that enthusiasm into writing our second play: “The Alternative”. Now, this play is not about genitalia. We’ve progressed a bit in our themes. When the application time came, myself and Michael sat down and began thinking deeply about Irishness. In an ideal world, we think Irishness would be an all-encompassing identity which can include: inner city Dubs whose families have lived on the same street for generations, the people of Dunfanaghy to Dingle, Achill to Rosslare, recent immigrants who have chosen to make a home for themselves here and emigrants who have chosen to leave, and even Northern Irish Unionists who might embrace the Irish aspects of their character if it did not threaten to diminish their Britishness. What’s more, I have recently become an uncle - a niece born in Scotland, and a nephew born in Belgium. They are part of a generation with a more fluid identity - both of them are Irish, but they’re also European, one’s British, the other Belgian. So identity, both personal and national, was certainly something on the forefront of our minds. The other thing bothering us, and is no doubt on the minds of anyone else who lives near the border is Brexit. And when you look at it, the Brexit debate can also be considered one of identity. What do the British people latch onto as their British identity? Is it one based in the history of Empire, and defeating Hitler, and that traditional culture of self reliance and standing alone - or is an identity that looks outward to the world in collaboration? Brexit has ignited the English nation to strive for their form of independence, and the Scottish Independence movement has seen them wrestle with their identity. With our own horrible, insecure hangups about our Irish identity, we wished to write a play that encapsulates all this. Who are we? What do we want? Where are we going? ‘The Alternative’ is not a Brexit play, but it is our response to what happened a century ago on this island, what is happening right now, and what is about to happen. ****** We settled on counterfactual history as the way into ‘The Alternative’. When political events are so up in the air, and are so emotional and raw, writing about them directly can be difficult. By transplanting our play to an alternative timeline, we can talk about the big themes around Irishness, Brexit, independence, and unification - without touching directly on nerves, and hopefully making it easier for people to think constructively on these questions. And to have fun with it. Our process began with a great deal of research. We spoke to a number of historians and consulted a range of books: Kevin Kenny’s ‘Ireland and the British Empire’, Diarmaid Ferriter’s “What If?: Alternative Views of Twentieth Century Ireland” and historical fiction such as Richard Harris’ “FATHERLAND”, which envisions a world where the Nazis won World War Two. To explore political satires set in TV studios, we watched all of Aaron Sorkin’s NEWSROOM and Paddy Chayefsky and Sidney Lumet’s NETWORK. I’d highly recommend writing something where watching season after season of Aaron Sorkin shows counts as “research”. Initially, we wrote together in the same room, but the nature of our jobs began to affect our process. Sometimes, we are up and down the country, and sometimes in different countries. For example, I was directing a feature documentary in Colombia, while Michael was working in Belfast, and when I was editing in Dublin, he was acting in Stratford with the RSC. We faced barriers of distance, and relied on skype, whatsapp, and working on shared Google Docs - which is not ideal when you’re looking for a secure wifi connection. We also felt that writing this play gave us space to indulge our imaginations and cross the borders between art-forms, writing and acting, theatre and documentary. We created a world with its own logic, its own history, its own rules and boundaries. We had fun with history and our national origin stories to create characters with new identities. Many of the elements of this new world were distasteful to us. The whole of Ireland under the yoke of Empire?! A Union flag flying over the GPO? But many things strangely seemed somewhat better. In our fictional world, there is and has never been a border on this island. No Troubles. A National Health Service for every Irish citizen? A history that lacked religious control and institutional child abuse? A country that had long protected cultural and language rights, recognised the rights of LGBTQ communities and women’s right to choice. When you get lost in imagination, it’s important to come back to reality. Michael and I came to see that in many ways, in our new fiction, Ireland as a whole within the UK might have been better off, as both North and South have suffered from the partition of 1921. Let’s not forget, 100 years ago (when the alternative history timeline of the play diverges from our own)... it was a time of great political turmoil. Britain was in the throes of constitutional crisis, at the heart of which was the question of Irish Home Rule. This crisis was staved off only by a Great War and subsequent formation of the Irish Free State and the statelet of Northern Ireland. A line was drawn around six counties, and the two parts of Ireland embarked on two alternate but inextricably linked paths - both paths, I think many in this room today would acknowledge, were fraught with difficulty, and with cruelty. In recent years, the physical and structural violence of the two Irelands was finally being recognised and addressed. The Good Friday Agreement in the North, and in the South, the emerging socially progressive politics that followed the death of the Celtic Tiger and recession. This island began a process of healing, from mistakes of 100 years previous. And today, that has been challenged yet again by decisions made outside this island, in the towns and villages of our neighbour, England. Brexit has led us to what commentator Fintan O’Toole has called the “no-man’s land between vague patriotic fantasies and irritatingly persistent facts”... and perhaps the most irritating fact of all is that the issue of the border between the North and the South of Ireland, is a circle that cannot be squared. This is the way we see it: Britain cannot leave the EU Customs Union and retain the open border we currently have on this island. And if the UK led by a hard-brexiteer Prime Minister crashes out of the EU without some sort of a deal, a hard border is inevitable. Despite the backstop, and proclamations that it will never happen, the British government has not offered any solutions. The British Parliament cannot accept the special circumstances of the North and the British political establishment does not respect the Good Friday Agreement. The political tectonic plates of these islands are shifting, and against the will of the people of this island, against the will of most of the people of the North, Ireland will be in some fashion re-partitioned. The events of 100 years ago repeat themselves. The psychological border of our nationality is being cracked open once more, another recession threatens, and a re-traumatisation which allows the ghosts of a dark yesteryear to become very real… To Irish border people, myself included, the border is invisible. It’s simply an imaginary line on a map, where lives and stories flow into one another, and people cross daily for work, family, love. So for us to be told that this imaginary border could become physicalised… By a customs post? A customs worker? Even a camera? That divides us against our will. It seeks to control how we think, to try to change how we perceive, because of British patriotic fantasies. Perhaps, these fantasies should be met with the power of Irish imagination. So, although it’s only one small part of ‘The Alternative’, by conceiving of a world where the border never existed in Ireland, we can ask audiences to think about the border, its function and its future. When the mind is without borders, the world will follow suit. If art can erode the partition of the mind, then perhaps it can have a greater impact in reality, in time. In writing ‘The Alternative’, we wish to question the border across this island specifically, but also any border between individuals, groups, communities, nations. Borders are artificial. They only really work if people on one side of the border accept they are different to those on the other side. A ‘them’ and an ‘us’. We think that stories which ask ‘what if?’ can be some of the most effective weapons in breaking down borders. Writing a play, or creating any kind of art, is a revolt. It’s an expression of feeling, in the name of fresh perception, which tries to invent something new. Michael and I are just part of a greater context of dissatisfaction with the status quo, and all we’re trying to do is to look at things differently, to question through entertainment. We seek to create work that challenges what we see as arbitrary boundaries, something that looks at the confusion of our time, and reframes it in an alternative context. Hopefully that can allow audiences to entertain the thought: ‘what if’? What if things had happened differently? What if they could be different? Imagination is the essential component of any progressive change, and this has been shown by many groups of determined people who are making this island a better place to live. Once we ask ‘what if?’, we might be able to envisage a world where our physical, conceptual and social borders are framed differently, where the goal-posts are shifted. And from there, we can ask ‘How to change things?’ And then ‘when is the best time to do it?’ Perhaps the creation of art can be used to cross borders. Perhaps artistic endeavours can be utilised to begin creating new meaning, new identities, maybe a new Irishness. Perhaps Imagination can take us forward to reframe our lives, our relationships, our borders, and our nation… to empower us to think about and create the type of place we wish to call home. Thank you very much.  After a rewarding 18 month process Fishamble: The New Play Company today announced that the search is over and it has chosen A PLAY FOR IRELAND: The Alternative by Michael Patrick & Oisín Kearney, which will premiere in Dublin Theatre Festival as part of its nationwide tour in association with Draíocht, The Everyman, Lime Tree Theatre & Belltable, Lyric Theatre, Pavilion Theatre, Town Hall Theatre in September and October 2019. As part of its 30th year in 2018, Fishamble: The New Play Company set out to find one, big, ambitious play, that bursts with humanity and tackles a subject about which the playwright feels passionate - A PLAY FOR IRELAND that captures the zeitgeist of the country, that demands to be produced. Submissions were invited from across Ireland at the start of this two-year process, which encouraged the citizens of Ireland, and non-Irish citizens living on the island of Ireland, to write plays, engaging people aged 18+, from all communities, throughout the country. The initiative has seen Fishamble develop 30 new plays with playwrights throughout the island of Ireland during the first round of this initiative, and later this year will result in the production of one very special new play. Today Fishamble announced that after a lot of debate and discussion among themselves and with the partner venues and independent readers, they have chosen THE ALTERNATIVE by Michael Patrick and Oisín Kearney as the Play for Ireland. What if Ireland was still part of the United Kingdom? What if Home Rule had passed? What if there was no War of Independence? No Civil War? No partition? What if the island had only one soccer team? The year is 2019 and it is the eve of the Referendum. British Prime Minister Ursula Lysaght is returning to her hometown of Dublin to convince voters to Remain. With the threat of chaos in the streets, and personal conflict behind the scenes, the final debate is set to begin at BBC Dublin: Should Ireland leave the UK? The Alternative will premiere in the Dublin Theatre Festival as part of its nationwide tour in association with Draíocht, The Everyman, Lime Tree Theatre & Belltable, Lyric Theatre, Pavilion Theatre, Town Hall Theatre in September and October 2019. “It has been a hugely rewarding experience for Fishamble over the past year-and-a-half to work with playwrights on the development of new plays as part of our Play for Ireland artist development initiative. It has been a pleasure working with the artists involved, and the 6 partner venues throughout the country. It has been such a difficult task to choose just one play to produce on national tour later this year, but we are delighted to have chosen THE ALTERNATIVE by Michael Patrick and Oisín Kearney. This play is such an inventive and ambitious response to the brief, and we feel it will be a hugely engaging, thought-provoking and entertaining experience for our audiences.” Jim Culleton, Artistic Director of Fishamble “We're absolutely over the moon that our play 'The Alternative' has been selected for A Play for Ireland. It’s an honour to be included in a process with so many talented writers and we’re so grateful to Fishamble and to the Lyric theatre for all of their support. We wanted to write a play that would reflect the tumultuous political climate we are living in, something that would deal with the big questions over the history and future of Ireland and Irish identity through satire, whilst having loads of fun with an alternate world. Hopefully, audiences will enjoy watching it as much as we enjoyed writing it!” Michael Patrick & Oisín Kearney Oisín Kearney (director & writer from Warrenpoint) and Michael Patrick (actor & writer from Belfast) met at the University of Cambridge where they began making theatre together and ran the University's Ireland society. They then formed Pan Narrans Theatre in Belfast. Last year they co-wrote the award-winning My Left Nut, which was developed through the Show in a Bag programme run by Fishamble, The ITI and The Dublin Fringe. Over the past year they've been a part of the BBC Belfast Voices screenwriting scheme, have written for BBC NI's Soft Border Patrol and were shortlisted to write for BBC 3's The Break. Oisín directs both theatre and documentary films. He localised Willy Russell's script of Educating Rita to 1980s Belfast for the Lyric Theatre, and was Assistant Director on on the project. He was Assistant Director on the the Lyric’s production of Good Vibrations, and worked closely with Colin Carberry and Glen Patterson on their translation of the story from screen to stage. Oisín has Assistant Produced a number of feature documentaries, and has directed a number of short films. His first feature as Director will premiere on April 28 at Hot Docs Film Festival in Toronto. As an actor Michael has worked with The Abbey, The Lyric, Tinderbox, NI Opera and appeared on Game of Thrones, Death and Nightingales, Krypton, and Soft Border Patrol. He is currently acting in Taming of the Shrew and Measure for Measure for the Royal Shakespeare Company's 2019 season. A PLAY FOR IRELAND is Supported by
Fishamble: The New Play Company announces the 6 shortlisted playwrights as its search for A PLAY FOR IRELAND comes to its penultimate stage. Shortlisted titles & playwrights are: Duck, Duck, Goose by Caitríona Daly In Passing by John Doran Wreckquiem by Mike Finn A Line of Work by Marina Ni Dhubháin Ballybaile by Jody O’Neill The Alternative by Michael Patrick & Oisín Kearney As part of its 30th year in 2018, Fishamble: The New Play Company set out to find one, big, ambitious play, that bursts with humanity and tackles a subject about which the playwright feels passionate - A PLAY FOR IRELAND that captures the zeitgeist of the country, that demands to be produced. Submissions were invited from across Ireland at the start of a two-year process, which encouraged the citizens of Ireland, and non-Irish citizens living on the island of Ireland, to write plays, engaging people aged 18+, from all communities, throughout the country. The initiative has seen Fishamble develop 30 new plays with playwrights throughout the island of Ireland during the first round of this initiative, and later this year will result in the production of one very special new play. Today Fishamble announced the 6 shortlisted plays which now move forward into the final stage of this process. Each will be workshopped with the Fishamble team and then, in April the chosen Play for Ireland will be announced. A PLAY FOR IRELAND is run in partnership with six venues across the country, Lime Tree Theatre & Belltable, Draíocht, The Everyman, Lyric Theatre, Pavilion Theatre, Town Hall Theatre – one playwright from each group that has worked closely with these theatres in this process has now been chosen to move to this penulitmate stage. 'Fishamble has been honoured to work on the development of 30 plays throughout 2018 with a wonderful group of playwrights. It has been difficult to reduce this selection to the shortlisted 6. We are thrilled to be working on the further development of this half dozen plays, with our partner venues, and look forward to what the results will be.' Jim Culleton, Artistic Director of Fishamble The shortlisted plays and playwrights are: Duck, Duck, Goose by Caitríona Daly – Draíocht, Blanchardstown Duck, Duck, Goose - In an attempt to help his friend, Chris Quinn becomes deeply embroiled in a rape allegation. When rules are changing and confusion reigns supreme, Chris struggles between loyalty, love and doubt. Caitríona Daly is a playwright from Dublin. She is a graduate from both The Lir's MFA in playwriting and the Royal Court's Young Playwright programme. Her plays have been produced in Ireland, England, and Scotland. Most recently she was nominated for the Fishamble New Writing Award at the Dublin Fringe Festival for Normal in 2017 and an Irish Times Theatre Award for Best New Play for Test Dummy in 2016. Caitríona is currently a participant of Six in the Attic, an Irish Theatre Institute Resource Sharing Initiative, from 2018-2019. In Passing by John Doran – The Everyman, Cork In Passing explores Ireland's relationship to things like community, substance abuse, self-expression and religion. The setting is an over-used community hall somewhere in Ireland. John's previous writing credits include The Centre of the Universe (Show in a Bag), Some Flood (Devious Theatre), Standing Ovations (Monologue for RTÉ Arena), Late Arrival (Monologue for RTE Arena), Folk (Smock Alley Scene & Heard Festival), Liberty Ghost (St Patrick's Day Festival) and The Banshee of Coil Crua (Childrens Story). As an actor, he's devised material on multiple projects with Collapsing Horse, Devious Theatre, Theatre Lovett, & Willfredd Theatre. Wreckquiem by Mike Finn –Lime Tree Theatre and Belltable, Limerick In Wreckquiem, as developers close in on his ramshackle record shop, Dessie Fitzgerald and a motley crew of misfit customers fight a rearguard action in the face of 'progress'. Mike Finn is a playwright, screenwriter and actor who holds an MA in Scriptwriting from the National Film School and has had over fifty scripts produced in various media. Among his plays are Pigtown (winner of the Stewart Parker Award and produced Off-Broadway), The Quiet Moment, The Crunch, and Shock & Awe, (Island Theatre Co.), Ellis Island (Theatre USF, Florida), Stories (LYT), Langered and One (Balor Theatre Co.), The Big Question (Institute of Excitement, Hampstead Theatre, London), We Are What We Witness, The Revenger’s Tragedy and Porkville (Bottom Dog) and Life In 2 Syllables (Fishamble, seen in Dublin, New York and Washington and described by The Guardian as ”ingeniously written”). Mike also wrote the book for the musical The Unlucky Cabin Boy (Guna Nua) and co-wrote On The Wire nominated for a ‘Best Production’ Irish Times Theatre Award in 2014. In April 2019 Mike’s new play about the Limerick Soviet, Bread Not Profits will be produced in Limerick. For television, Mike has co-written extensively with Pat Shortt including thirty six episodes of the IFTA nominated Killinaskully, seven episodes of Mattie and the pilot of Behind The Crystal Ball. Mike wrote the radio drama It’s A Worthless Life for RTE 1 and Little Bits Left Over for Limerick 95FM. In 2017, Mike was Theatre Artist-in-residence at the Belltable in limerick. A Line of Work by Marina Ní Dhubháin – Town Hall Theatre, Galway A Line of Work is the story of a woman who lives agelessly through three generations of social and ideological transformations in the Irish workplace. Marina Ní Dhubháin works between Galway City, where she is a theatre researcher at NUIG, and Dingle in West Kerry, where she develops work with community theatre group Aisteóirí Bhreanainn. An Irish Research Council scholar, her research areas relate to memoryscape, documentary and oral history performance, with a particular focus on practice- led applications. Her Irish language theatre projects have focused on play with archival sounds, devising through translation from literary scripts and traditional story-telling. Marina is a member of the recently established theatre-making collective Garraí an Giorria who are developing a range of new pieces for the professional theatre, as Gaeilge. Ballybaile by Jody O’Neill – Pavilion Theatre, Dún Laoghaire Ballybaile is an attempt to represent Ireland in the current moment. It consists of 17 short plays, each named after a government department that explore how decisions and policies made at a governmental level impact on the lives of citizens. Within this structure, it investigates themes of community, isolation, family, climate change, identity, poverty, love and loss. Jody O’Neill is a writer and actor, currently based in Wicklow where she spent much of her time learning about Pokémon, science and the Universe from her seven-year-old son. Jody’s interest in theatre began when her mother was a member of Haulbowline Theatre Group in the 1980s and they would often take the boat from Cobh to Haulbowline to see their productions. She went on to become a member of Activate Youth Theatre and then completed actor training at Trinity College. As an actor, Jody has worked extensively in theatre, television and as a voice over artist. Jody wrote her first short play for Fishamble’s Whereabouts in 2005. Since then, as well as writing for theatre, she has spent several years working as a story and script writer for RTE’s Fair City. Currently, she is developing work that promotes autism acceptance and inclusion. What I (Don’t) Know about Autism will be produced in early 2020, funded by the Arts Council and Wicklow County Council. The Alternative by Michael Patrick & Oisín Kearney – Lyric Theatre, Belfast The Alternative envisions a world where modern day Ireland remains unpartitioned as part of the United Kingdom. The action takes place on the eve of an independence referendum asking if Ireland will finally take its place among the nations of the world. But the arguments aren't as clear cut as you might think. Oisín Kearney (director & writer) and Michael Patrick (actor & writer) run Pan Narrans Theatre in Belfast. Together they wrote the award-winning My Left Nut, which was developed through the Show in a Bag programme run by Fishamble, The ITI and The Dublin Fringe. Oisín directs both theatre and documentary films. He localised Willy Russell's script of Educating Rita, setting it in 1980s Belfast for the Lyric's production in 2016-17, and was Assistant Director. Oisín has Assistant Produced a number of feature documentaries, and his first feature as Director will be released later this year. As an actor Michael has worked with The Abbey, The Lyric, and is currently in rehearsals for the Royal Shakespeare Company's 2019 season. Together they're in the BBC Belfast Voices screenwriting scheme. Through this they've written for BBC's Soft Border Patrol and were shortlisted to write for BBC 3's The Break. A PLAY FOR IRELAND is Supported by
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Here at Fishamble we've have had a busy 2018 marking our 30th year.
WORLD PREMIERES OF NEW IRISH WRITING At the cutting edge of supporting, commissioning and presenting new writing in Ireland this jam packed year saw Fishamble present a number of world premieres:
SEARCH FOR A PLAY FOR IRELAND As part of this their 30th year, Fishamble: The New Play Company also set out to find one, big, ambitious play, that bursts with humanity and tackles a subject about which the playwright feels passionate - A PLAY FOR IRELAND. Fishamble is halfway through their two-year process, which encouraged the citizens of Ireland, and non-Irish citizens living on the island of Ireland, to write plays, engaging people aged 18+, from all communities, throughout the country. The initiative is underway with 30 new plays being developed. The result will be the production of a very special new play. A Play for Ireland is run in partnership with six venues across the country, in Dublin, Cork, Limerick, Galway and Belfast: Belltable / Lime Tree Theatre, Draíocht, The Everyman, Lyric Theatre, Pavilion Theatre, Town Hall Theatre. TOURS As well as that, Fishamble also toured:
PLANS FOR 2019 Some of our plans for 2019 which will include:
Further productions and tours will be announced in due course. This includes the announcement of Fishamble’s A Play for Ireland which will be chosen in April, and produced in 6 venues across the island Ireland in the autumn 2019.  Charlie Bonner, Janet Moran, Rebecca Root, Karen Ardiff and Enda Oates in Rathmines Road by Deirdre Kinahan. Photography by Patrick Redmond. A Reckoning?
It strikes me that Ireland is going through something of a reckoning at present. Recent referendums on civil liberties, tribunals into political ethics and corruption, inquiries into clerical and institutional abuse, all signal an enormous shift in Irish thinking. The iron grip of Catholicism and stifling absolutism of class and convention are beginning to dissipate, and to my mind that is a good thing. Unfortunately there are many areas in which we still fail and fail spectacularly. In Rathmines Road, I want to explore our collective response to accusations of rape and sexual assault, and our complete failure judicially, socially and culturally, to negotiate the dreadful consequences of these crimes. So I decided to place a victim of sexual assault into a situation where he/she can confront that abuse in a public way and then watch each character shift and spin in the ways described by survivors. I wanted to try to feel what it is like to be blamed for inciting the very crime committed on you. What it is like to be constantly doubted. What it is like to be perpetually judged and labelled by that crime. What it is like to see your story, your truth and your dignity stolen from you by the people affected by that accusation – and how quickly the response becomes not about you but about them, and how your accusation affects them. I wanted to try to feel what it is like to disappear – disappear into an abyss where every social cultural and judicial reflex conspires to silence, to shame and to deny…YOU. It was in writing the play that I began to understand how the failure of our response is often governed by gender and the cultural expectations associated with gender. Boys will be boys remember and good girls don’t get drunk or don’t go into bedrooms at parties unless they are willing to be sexually assaulted or raped. It sounds absurd. I have to say I have trouble even writing that sentence, but how many daytime-chat-show callers, opinion-column writers, neighbours, solicitors or indeed deluded bishops give air to the notion that a victim of sexual assault is in some way culpable – if not asking for it? It is extraordinary how control of the narrative of a crime is often removed from the person at the centre of it, then reshaped to fit the needs of those around them. The perpetrator of sexual assault rarely admits their crime, rarely sees it and in most cases is never forced to answer for it. And so you will see how each character in Rathmines Road attempts to take control of the story and recreate it in some way to suit their sense of themselves. You will see how some characters lie, lie constantly, and lie first to themselves because the capacity for human denial never ceases to amaze me, particularly when backed up by silence. Silence sits at the heart of Rathmines Road because, unfortunately, silence remains the go-to response for survivors, their abusers and ourselves. Silence means we might not have to respond at all. Thank you, Deirdre Kinahan. September 2018 Rathmines Road by Deirdre Kinahan, directed by Jim Culleton, presented by Fishamble: The New Play Company and the Abbey Theatre, runs at The Peacock Stage of The Abbey Theatre as part of Dublin Theatre Festival 2018 until October 13, continuing its run till October 27.  Photo and Design by Publicis Fishamble are delighted to announce that its highly-acclaimed production, On Blueberry Hill by Sebastian Barry, will be touring internationally and nationally in 2019. We are excited to have actors Niall Buggy and David Ganly join us once more, playing the roles of Christie and PJ.
In Sebastian Barry’s unique style, On Blueberry Hill features best of friends and worst of enemies Christy and PJ, played by Niall Buggy and David Ganly. This new play is bursting with humanity, as it explores murder, forgiveness, survival and, ultimately, love in the prison of the human heart. ‘Phenomenal… a superb, devastating play… fine performances… triumphantly directed… not to be missed.’ Sunday Independent ‘It’s hard to find a word that captures it adequately. ‘Superb’ will have to do.’ ★★★★ Irish Times 'absolutely riveting… utterly unforgettable… powerful play… two astonishing performances… first class direction… just go and see it.’ ★★★★ TheArtsReview Tour Dates 8 January - 3 February, 59E59 THEATERS, New York, supported by Culture Ireland 6 February, HAWK'S WELL THEATRE, Sligo 8 - 9 February, WATERGATE THEATRE, Kilkenny 12 - 16 February, PAVILION THEATRE, Dún Laoghaire 18 February, TOWN HALL THEATRE, Galway 20 - 21 February, LIME TREE THEATRE, Limerick 23 February, GLÓR, Ennis 26 February, CORK OPERA HOUSE, Cork 28 February & 1 March, THEATRE ROYAL, Waterford  From left to right: Janet Moran, Charlie Bonner, Karen Ardiff, Enda Oates and Rebecca Root in Rathmines Road by Deirdre Kinahan. Photograph by Patrick Redmond. Fishamble: The New Play Company and Abbey Theatre, Ireland present the world premiere of Rathmines Road by Deirdre Kinahan
Olivier Award-winning Fishamble and the Abbey Theatre are delighted to present Deirdre’s latest powerful and questioning drama as part of Dublin Theatre Festival 2018. Bristling with tension, Rathmines Road unleashes a brutal truth that affects us all. It is a play that asks: when and how do we take responsibility? Fraught, funny and ferocious this new drama challenges the cultural response to accusations of sexual assault. Will truth out? Directed by Jim Culleton, Rathmines Road features a stellar cast of Karen Ardiff, Charlie Bonner, Janet Moran, Enda Oates and Rebecca Root. Fishamble is committed to presenting a diverse range of voices on the Irish stage and to representing communities with authenticity. When Rebecca Root takes to the stage in Rathmines Road it will be the first time that a transgender actor will play a transgender character in a professional theatre production on the Irish stage. Gordon Grehan, Transgender Equality Network Ireland (TENI) said "We are delighted that, for the first time in Ireland, a transgender actor has been cast as a trans character in a play. Acceptance and understanding of our community is fostered by the positive visibility of trans people in all areas of life, including in the arts. It is exciting that trans people will attend our national theatre and see themselves represented on stage by the talented, trailblazing Rebecca Root, in what we are sure will be another must-see Fishamble production." Fishamble has previously produced Deirdre Kinahan’s play Broken as part of Tiny Plays for Ireland in Project Arts Centre in Dublin, the Kennedy Center in Washington DC and Irish Arts Center in New York, and Spinning as part of the Dublin Theatre Festival in 2014. The Abbey produced Deirdre’s play The Unmanageable Sisters earlier this year. Suitable for ages 14+ Creative Team Directed by Jim Culleton Set and Costume Design: Maree Kearns Lighting Design: Kevin Smith Sound Design: Carl Kennedy Civic Theatre, 4-6 Oct (previews) & Abbey Theatre, on the Peacock Stage, 9 - 27 Oct 2018 Booking: Civic Theatre Previews: 4–6 Oct, 8pm €18–€22 Abbey Theatre, on the Peacock Stage Free First Preview: 9 Oct, 8pm Dates: 10–13 Oct, 8pm Tickets: €25 World premiere 10 October as part of Dublin Theatre Festival Duration: Approx. 80 mins. No interval. Join the conversation: #RathminesRoad #DTF18 |
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