I love visiting the theatre. I find it far more engrossing watching a play than watching a movie. You rarely get distractions by other audience members munching on overpriced junk food or teenagers texting (or calling!) on their mobile phones. But that aside, there is something wonderful watching actors perform in good pieces of theatre on stage. I always sit as close to the front as I can when visiting the theatre (in contrast to sitting near the back in the cinema!), the front row being ideal. Don’t get me wrong, I love the cinema, however watching a great actor in a great play on stage is far more rewarding and inspiring than watching a great actor in a great movie.

The theatre scene in Ireland has a massive divide between professional and amateur. Not in terms of talent, as the standard with many amateur actors and theatre groups in Ireland is high and often on par with the professional scene. But open a national newspaper and check the theatre listings and you will usually only see listings for the main national theatres which are out of reach for the majority of theatre groups. You’d also be forgiven for thinking that you had seen many of the listing performances before as the professional scene is often littered with rehashes of Irish plays amongst others. Granted the same can be said about many amateur groups, but perhaps I expect more, or indeed too much from the professional scene.

Nobody likes watching a bad play or a bad performance but no different to the movies, there are plenty of sub par performances in all walks of theatre life. Maybe its the high expectations or high ticket prices but when I experience poor performances in the professional scene, I often feel cheated. Couple that with a production that has been done to death, and well we would get into “walk out” terrority if it were cinema!

I enjoyed last night’s Studio Shorts overall. In particular I loved “The Philadelphia” which was directed by Brian Molloy who also starred in it. Performing alongside Brian was Sean Murphy and Claire O’Donovan. It’s a short piece at only 10 minutes but very clever and funny. The scene is set in what appears to be a New York restaurant in a ‘Twilight Zone’ styled universe. The performances were excellent and the accents were commendable!

“Bar And Ger” was directed by Gary Wall and Fiona Walsh. It starred Joe McCarthy and Aoibhinn Finnegan. It’s a simple story of the relationship between a brother and sister played out over their life. While I wasn’t particularly excited by the subject matter itself, the performances from Aoibhinn and Joe were excellent with the chemistry between the actors demonstrating some heart warming and touching moments and kept me engrossed throughout.

“Small Box Psychosis” was directed by Óran O’Rua and starred Sean T. Daly, Ronan Horgan and Pat O’Grady. It’s set in an elevator in New York that appears to break down and an off the wall plot ensues between a lawyer and 2 lift operators. An interesting piece, often funny although I felt the it was over long and could have done with edits in the script. That being said it was entertaining piece and in particular Sean did a good job of earning the empathy of the audience, which was important given what unfolds in the lift!

“Studio Shorts” runs in the Mill until the 25th Feb. You can visit Balally Player’s website here.

So today was our first rehearsal for Whose Life Is It Anyways? It has been an exciting yet challenging few weeks for me as I had some strong auditions to mull over and casting decisions to make. It’s fair to say that assistant director Brendan, along with Vonnie and Christine who sat in on all the auditions shared the challenge as we had lengthy discussions about casting.

But decisions were made and the cast was confirmed!

Ken Harrison – Kevin O’Flynn
Dr. Emerson – Brian Quinn
Dr. Scott – Sophie Van Het Erve
Sister Anderson – Saskia Carroll
Nurse Sadler – Ellen Hallinan
John – Shane Robinson
Gillian Boyle – Pearl O’Rourke
Andrew Eden – Harry Walsh
Dr. Travers – Cathal O’Donovan
Dr. Barr – Albin Lahore
Phillip Hill – Alan Rogers
Ms. Kershaw – Sinead Dunphy
Justice Millhouse – Ken Ryan

The ensemble brings a mix of hardened No Drama veterans and more recent members who will be making their No Drama debut but the talent amongst all is strong.

Today’s rehearsal consisted of some warm up exercises and a full read through of the script. One of the warm up exercises is taken from my briefcase of improv games, which tests people’s memory, concentration and teamwork skills! There was much giggling and laughing as the cast struggled with the game, however as the rehearsal process goes on, I’m sure they will be dab hands come show time!

The read through went well and it was great to start to see things moving along. I’m looking forward now to getting the blocking done. (or to use a less technical term, directing!)

One faux pas of mine today, I brought my camera to the rehearsal with the purpose of taking cast shots. But I forgot to take pics. I hope my cast will better at remembering lines than I am at remembering to take photos!

I spent last weekend braving the Siberian weather in the UK and attending a Long Form improvisation weekend of workshops with Jason Chin. Jason hails from the infamous iO Theatre in Chicago where he has been involved with improv for over 15 years. He has held the positions of the iO Associate Artistic Director, as well as the Director of their Training Center. Jason created the improvised news satire, Whirled News Tonight, which has been running for over 8 years. He is the author of Long-form Improvisation and the Art of Zen Jason was in the UK as a guest of The Maydays.

Or in short, he has the credentials!

My inability to read emails correctly resulted in me arriving in the UK on a Thursday night, for a course that would not kick off until Saturday morning. I spent the Thursday night and Friday taking in the local offerings in Cambridge. Those offerings consisted mostly of snow and cold though. And a search for a scarf.

But I digress. So after a miserable night’s sleep I rose from the dead early on Saturday morning to take a train to London. My destination was “The Nursery” in Southwark. (Note to Irish readers, it is not pronounced South Wark!) An upbeat Jason greeted us at the door and in total there was about 16 of us ready to get stuck in! There were a couple of familiar faces from my previous improv adventure with the Maydays in Leela as blogged about here.

But lets talk about the venue, The Nursery. It was as if the room was built under a railway bridge, with the walls filled in cement and a door added. No, this is not a metaphor, the room really was under a railway bridge! The room was cool and quirky. But, it had no heating. And it was freezing! Thanks to the brainwaves of one of the participants, a few phone calls later we had a flurry of portable heaters which helped to stave off some of the cold by lunchtime. Every little helps!

So Jason gave us an introduction and we got stuck in. After a couple of warm up exercises, we spent most of the day (and the following day) in a variety of open scenes. It was quickly obvious that most people in attendance were experienced improvisers and some people perform regularly. The talent on display was excellent and equally hilarious! But Jason brought an additional edge to the proceedings. He is a fantastic teacher, very attentive and offers great insight into improvisation with his thoughts and feedback. His ability to plants seeds in your head brought out very fruitful results on stage. Jason put much emphasis on emotional reaction and the +1 and it was as if everything just ‘made sense’!

I personally find performing improv, especially long form, very liberating. The concept of “Group Mind” during a scene creates a strong bond between performers and the experience and energy becomes shared. There were many hugs, claps and back pats after each scene which only serves to highlight the enjoyment and bond that performing together brings. While you become used to it with your own troupe, its rejuvenating to experience it with new people.

There were so many great scenes over the 2 days (and probably even more during the showcase on the final day which due to my flight home, I missed), many colourful characters and hilarious quotes. Moments like when during a scene Jesus cries, “If I can’t repair a rusty hinge how am I expected to perform miracles!” Or after a scene involving a character receiving a banana on his birthday, Jason asked Andrew how he felt in the scene and Andrew replied, “Was that before banana or after banana?” All classic spontaneous moments!

I met some great people over the 2 days and I’m looking forward to meeting again, be it on stage or viewing from the audience. I’m also looking forward to my US trip in 2013 when Chicago is on the agenda!

Every time I attend or partake in anything improv related in the UK, I am inevitably filled at some point with jealousy at how large and cohesive the improv scene is there compared with Ireland. Its not that we don’t have great improvisers in Ireland, we have some great talent too. But we need more troupes, more venues willing to open their doors to improv and we need to raise the profile of improvisation in Ireland to a higher level.
To quote a friend who used to perform with me in improv shows, “I told people in work that I have done improv before, and thoroughly explained exactly what this entails. Despite this, many a conversation has been started with the line: ‘Did you know Dave did stand-up?’”

But lets not end on a downer. A fantastic weekend of improv with great people and great tutoring was had. If you have a chance to train with Jason in Chicago or indeed The Maydays in the UK, just do it!

You can follow Jason’s blog here

You can visit the Mayday’s website here

So No Drama Theatre is in pre-rehearsal’s with our current production of Whose Life Is It Anyway? by Brian Clare. (Subject to performance license) The privilege of directing has fallen to me, and its something I’m excited to be doing once again. The production will hit the stage in May. Inspired by the blog of esteemed No Drama Theatre colleague, Dave McGowan, I have decided to follow in his footsteps and blog the journey from script to stage. You can read Dave’s original blog here.

Whose Life Is It Anyway? was written in the 70′s and focuses on the plight of Ken Harrison. A talented man who has been left a paraplegic following a horrific car accident. He has become physically helpless with no movement below his neck. Ken decides his life is already over, and embarks on a legal battle to take control of his life and thus, the choice to end it. The play was made into a film in 1981 which starred Richard Dreyfuss in the role of Harrison.

Today we kicked of the first day of auditions in our usual No Drama haunt, and as with all our productions, there were a mix of new and old faces showcasing their talents. Joining me in the crew is Brendan Dalton as Assistant Director and Christine Leonard as Production Manager. Brendan is no stranger to the stage, having performed in a number of No Drama Theatre productions as well as directing in our bi-annual Shindig. Christine was Production Manager on our previous production, Arthur Miller’s Resurrection Blues, and made it look easy! I’m looking forward to working with the team as the production goes on.

We have 13 roles to fill. All bringing challenges with each one. But its going to be exciting production as not only do we take on a topic that is regularly featured in the news and media, but we take on a play that is a hardcore drama. The play brings many challenges to the performers, in particular the role of Harrison where nearly all of his person will remain lifeless throughout the play! Lets hope he doesn’t get an itchy nose during the show!

I have a vision in my head for what I want to achieve with the production and while the play has not been cast, it would be unfair on those involved in the auditions if I was reveal that at this point. But I will reveal more in a future post.

So this is page 1. We have another day of auditions on Tuesday and from there we will go through call backs. I’ll update the blog regularly with the hashtag #whoselife?

So its been a while, but time flies when you’re having fun.. I had the pleasure of attending a performing of Stagemad Theatre’s “All Fall Down” as part of Waterford’s Imagine Arts Festival. Written by Ciaran Murphy and directed by James Power, this one act play starred Bríd Power and Brian Coady. A Q&A with the writer and director was held after the performance.

The play examines the relationship between a brother and sister, where the sister has taken on the role of carer for her blind brother. Set in a post Celtic Tiger rural Ireland, we quickly see the strain of the relationship brought on by both the circumstances of the siblings and the lack of state support for carers in Ireland.

While only 50 minutes in duration, it’s a very powerful piece. The performances were excellent and as an audience member you could feel the anger and sadness emerging in the narrative. While watching the play, I couldn’t help but not think of the in Wexford from a few years ago.

I found the play deeply moving and it stuck with me afterward. And to quote Murphy from the Q&A, “you have to tell a lie to tell the truth”. This is a story that has to be told. There are major issues with the lack of appropriate state support for carers and the with mental health overall in Ireland. While this harrowing tale is a work of fiction, there’s no doubt that similar situations are playing out in real life all over Ireland every day. I only wish that Stagemad could bring this show to other venues throughout Ireland.

Stagemad have a philosophy of creating opportunities for local talent. Many of their past productions were written by local playwrights. A very popular group in Waterford, it’s very clear that we need more groups like Stagemad in Ireland.

Stagemad’s next production, “Events While Guarding The Bofors Gun” will be staged in Garter Lane Theatre from Wednesday 23rd to 26th November. Tickets are available on the Garter Lane website.

www.stagemad.ie

Three years, feck me.

It seems like a not so distant memory when the post went up on boards.ie and a rendezvous in a pub to discuss all things drama commenced.

But this isn’t a post to dwell on the past, but to look to the future.

I’ve pretty much taken a step back from taking a major role with our latest major production, Irvine Welsh’s “Ecstasy” as I felt I needed some breathing space and more importantly, development space for the future of No Drama. Its given me time to develop my personal teaching skills, (I’m currently studying for Speech and Drama teaching diploma) and my improvisation skills.

But watching the ball that is Ecstasy roll into place is quite a proud thing to witness. I am witnessing a production take shape where I don’t need to be constantly sticking my finger in the pie to see how warm it is. The competency of No Drama speaks for itself and its nice to genuinely feel like the birds have flown from the nest, unaided.

That might sound a tad arrogant or indeed disrespectful, but if anything its complimentary. My passion for No Drama has never waned since its inception and as you may gather I’m a control freak. So while I obviously can’t and don’t do everything in the group, I’m always watching, listening, reading to make sure Im on top of everything. A bit like the nervous flyer who looks out the window at the wing throughout the flight to make sure it doesn’t fall off. (Because if you take your eye of the wing for just one minute, it will fall off!!) However being that control freak and taking that step back for others to take the lead on a project, is a compliment to my colleagues, peers and friends within the group. Their effort and committment is no less than mine and its a marvel to witness the comradory and teamwork in the group.

Evolution so to speak.

Of course if you don’t evolve you become extinct. The committee has grown and we have more volunteers helping out in whatever way they can. Our most recent committee recruit, Vonnie Durran, has been a long time No Drama member who felt like a natural addition to the committee team.

So while this term is far from over; its still a month to curtain on Ecstasy, a Shindig in June and a show at the Body And Soul Festival in the same month, there is still plenty to be thinking of before I even consider what next year will bring.

We’re re-examining our improv show and workshops, with a view to introducing a new type of improv show rarely seen in Ireland. We’re running structured courses and also considering having summer courses. We have a show at Electric Picnic in September, it just never ends really!

Actually, maybe I will take that holiday first!

So why do people join drama groups and what do they get out of it? With No Drama Theatre, we have found members have
joined for many reasons such as;

• A desire to act
• To improve performing skills
• To work behind the scenes
• A social outlet
• A combination of the above

However whether immediately realised or
not, members have given us feedback that being part of the group
has also given:

• Boosted confidence and self esteem in other aspects of life
• Great understanding of staging a production and
being involved in one
• Improved their communication skills including active listening
• Developed both teamwork skills and the
ability to work on initiative
• Introduced them to new and cool friends!

What many people have said is that all of this is achieved through a fun and welcoming environment and because we run workshops twice weekly, personal development is in constant focus.
So this brings us back to the why you might be thinking of joining
a drama group, be it No Drama Theatre or
another group. I often hear from people or read on messages boards,
people asking how they can get involved in drama groups and get to
act on stage. The most common reply is, “Do as many auditions with
as many groups as you can”. I personally believe that this is not
always the best of advice. Why is this? Well remember what I said
earlier about the key factors that contribute to a drama group’s
success? The importance of teamwork, trust and
commitment. Your first step should be to join a drama
group! Many groups are weary of people who only seem to appear
around audition periods as it raises a question mark over
commitment to the group. The director of a play will always want
the best performer for a role, but he/she also needs to consider
how the individual will mix with other performers and crew. Will an
actor be on time, flexible and committed to the role? No different
to a job interview, you can’t convey this in a short audition.
However by getting involved in a group, attending workshops,
helping out backstage when you are not cast in show, it all adds to
the teamwork and spirit of the group. One of No
Drama’s longest members, Tom, once said to me over a
pint, that when he was cast in his first play with the group, he
was blown away by the commitment and effort put in by the
production crew in bring the play to the stage. When it came to the
auditions for our next play, Tom wasn’t available to audition and
was due to be on holiday before the play would be staged. However
Tom felt that it was important to fly home in time for the
production to help out backstage when the play was running, to give
back to other people what he had received when he was on stage.
This kind of action captures the spirit of what No Drama
Theatre and many other drama groups around the country
are all about. It also helped boost Tom’s director’s and producer’s
knowledge of Tom’s abilities and capabilities.

What Can I Expect When I Walk In The Door?
Joining a drama group can be scary. Many people have experienced joining a
group only to find its very clicky or difficult to get accepted
into the core group. With No Drama Theatre we
strive to eliminate the “eliteness” often associated with drama
groups and offer a level playing field for everyone. However all
the positively affirming written words in the world doesn’t smash
those nerves of walking in the door for the first time! But that’s
all it takes, a first step. Remember everyone in the group had a
first class/workshop at some stage. Have a chat to members, new and
old. You’ll find that many people will have had similar reasons to
you for joining. And finally and most importantly enjoy it!
Workshops are very important to developing your performing skills.
If you aren’t doing formal training with a professional school,
acting in plays alone won’t develop your skills to the extent you
may think. I have had feedback from members who have said that the
confidence and skills learned in our workshops have helped them get
cast in plays/TV shows/films outside of No
Drama. One of our member commented on an audition
outside of No Drama, for a web series,
The Covies, where the majority of the audition
was to be improvised. He told me that had it not being for the
improvisation exercises and workshops he had attended with
No Drama, he would not have been prepared for
the audition. He got the part too. That’s just one simple example
of how beneficial workshops are if you want to develop your skills
further. So to close out, if you want to join a drama group?
Go for it!

We buried my Uncle yesterday. He was 48. Christy, or “Mono” as he was nicknamed, was the youngest among his brothers and sister. He died on Sunday, quite suddenly.

I got the phone call Sunday night from my cousin in England. He thought I had already heard. I hadn’t and I didn’t believe him at first. Mono is 48. You don’t just die suddenly at 48? At least, it could never happen to those close to you? It did and just had.

The family was devastated. I was trying to take it all in and it was difficult to process. I needed to get out of the house so I met a friend in the pub but in my mind I was thinking of when I saw Mono last, the last thing I said to him on the phone recently. I should have done this or that. It all just races by.

I arrived in his hometown for the funeral and I was blown away by the amount of people in the church. Hundreds. He’s from a small town and its strange how you see people you know and then people you don’t. But Mono had touched the lives of everyone there. Some more than others, he had spent over 10 years with the Coast Guard.

The priest did his thing but lets be honest, it’s a fruitless task. He only comments on what he is told, he probably never met Mono. At the end of the ceremony my mother got up to say a few words and she delivered a heartfelt message that reached out to everyone in the church. We left the church to sounds of Mono’s favourite Bob Dylan song.

I hate funerals. We all do. Its the awkwardness at it that makes it near impossible to handle. I always find the burial in the graveyard the most surreal part of it. Unless you are right beside the priest you can’t hear him that well so you’re left with just your thoughts and reminded of the fragility of it all. I stood behind a couple in their 40′s that I had never met before. I watched as the wife did her best to hold back the tears as the ceremony went on, only to see her eventually breakdown.

And then there’s Mono’s daughter. She’s 10. How does a child process the loss of a parent? She’ll never have the experience of telling her father about the first time she falls in love or never be able to ask him for guidance when she goes through the trials of life. Very sad and unfair.

Mono earned the nickname after the character of Manolito Montoya form the Western TV show, High Chaparral. The name stuck as they both shared the same fringe at the time. I have fond memories of Mono from growing up. He was always the hyper Uncle. He would play football with my brother and I for hours, never tiring. He was a top player for the local team and loved the sport. He used to make us tomato and mayonnaise sandwiches. I hated them but my brother still eats them! I’ll always remember the time when as a child, Mono started listening to Christy Moore. One day he had the song Lisdoonvarna stuck in his head and wouldn’t stop singing it. Except everytime he started singing it, he kept ticking my chin. Its funny the things we remember from our childhood.

Sitting in the pub after the ceremony I was able to catch up with friends and family, some I hadn’t seen in a long time. I watched grown men who have probably never hugged another man embrace family and loved ones with tears in their eyes. Many “Mono stories” were swapped and one friend, Neil, told the tale of when he recorded a tape for Mono and wrote on it “Recorded In Stereo For Mono”. Another memory for our early days that sticks in our minds!

I realise that this blog post is indulgent and meaningless to others. Death is a part of life. We are all pushed through the motions of what to do and how to act. From the section in your employment contract telling you how much time you are entitled to when there is a family bereavement, to the etiquette and procedure of the day of the funeral. Its all shite really. Nowhere tells you how to handle how you feel.

So this is my goodbye to Mono. I forgive ya for lashing me out of it with a tennis ball that day! I’ll see ya later horse.