Dublin Dance Festival and the Abbey Theatre are delighted to co-present Jean Butler in an engaging new work by Tere O’Connor. Jean asked Tere to create this solo for her, one which departs from her long history and training in Irish Dance. Entitled DAY, the piece explores the ways we come to know a person beyond the narrative of his/ her life. It questions how much we can really know someone and if our projections constitute our knowing more than the actual truth. Tere O’Connor’s work Rammed Earth was seen at DDF 2008, the same year that Jean Butler remounted her first contemporary solo, does she take sugar?, for the Festival.

 

Dublin Dance Festival and the Abbey Theatre are delighted to co-present Jean Butler in an engaging new work by Tere O’Connor. Jean asked Tere to create this solo for her, one which departs from her long history and training in Irish Dance. Entitled DAY, the piece explores the ways we come to know a person beyond the narrative of his/ her life. It questions how much we can really know someone and if our projections constitute our knowing more than the actual truth. Tere O’Connor’s work Rammed Earth was seen at DDF 2008, the same year that Jean Butler remounted her first contemporary solo, does she take sugar?, for the Festival.

 

A man waits on a railway platform. Trains pass but never stop. The audience sits in front of a mirror and sees themselves and the dancer on a stage behind them. A woman appears on the platform next to him, they seem to embrace each other. Sometimes she disappears suddenly, reappearing elsewhere on the platform. When the last train rushes past both dancers have vanished. Based on Samuel Beckett’s Text for Nothing #7, Double Track is a dance performance about waiting. Listening and seeing are separated and a unique perspective on the performance environment is created using video projections and mirroring techniques. Originally created in 1986, Double Track is set to a commissioned score by Dutch compser Louis Andriessen. The 2009 version was recreated by Blankert for the occasion of Andriessen’s receipt of the Johan Wagenaar Prize. Crash Ensemble perform the 12 minute Double Track score immediately before the dance performance.

 

A man waits on a railway platform. Trains pass but never stop. The audience sits in front of a mirror and sees themselves and the dancer on a stage behind them. A woman appears on the platform next to him, they seem to embrace each other. Sometimes she disappears suddenly, reappearing elsewhere on the platform. When the last train rushes past both dancers have vanished. Based on Samuel Beckett’s Text for Nothing #7, Double Track is a dance performance about waiting. Listening and seeing are separated and a unique perspective on the performance environment is created using video projections and mirroring techniques. Originally created in 1986, Double Track is set to a commissioned score by Dutch compser Louis Andriessen. The 2009 version was recreated by Blankert for the occasion of Andriessen’s receipt of the Johan Wagenaar Prize. Crash Ensemble perform the 12 minute Double Track score immediately before the dance performance.

 

Following a hugely successful season in the Gaiety Theatre in May 2009, where it received an almost unbroken run of standing ovations, and a West End Premiere, Lane Productions are delighted to announce that THE SHAWSHANK REDEMPTION will return to the Gaiety Theatre by popular demand for a limited run.

 

A newly commissioned solo exhibition that explores the complex and historical world of spectatorship. Adopting the early special effects technique of matte painting, Sander uses and quotes the visual intricacies associated with illusion, while critically examining the personal motivation of consumers who participate in spectator industries. Tourism, audiences, the traveller and the curious are all characters who take time out of everyday life and pay to see things. The gallery will be transformed into a single, circular screen, providing a constantly changing and looping landscape. Sander contrasts the simplicity of matte painting with the complexity of the current economic unknowns that form the background to many of our lives.

 

Drawings and paintings from Ukraine. Ukraine defines itself by opposition to its bordering states. It is not Russia, not Poland, not Tatar… It views its Soviet past as another country, yet the past is omnipresent: the border is porous. To the outsider Ukraine is also a fantastically beautiful space where the borders between the structures of civilisation – houses, tower blocks, railways – are constantly being assailed by nature. Everywhere there is green.

 

Inspired by an advertising slogan - “For men who know how to live” – Carlotta Sagna asks the question: what about the others? Those who live their lives with less ease, those who are inept at living. Embodying a subtle, highly gestural movement language, Sagna probes the borders of normality and pathology. Carlotta Sagna trained with her mother, Anna Sagna, choreographer and teacher, in their native Turin. Having spent several years performing with Anne Teresa de Keersmaeker and Rosas, she joined Needcompany in 1993 as performer and choreographer. She has based her own company in Paris since 2005 and joined her company with her sister Caterina’s, in September 2009.

 

Dave Rooney is a multi instrumentalist, singer/songwriter hailing from Dublin. A passionate musician, he has gigged across Europe for 15 years.

 

 

 

What is there to say? Not a lot.

 

Over 900,000 viewers were attracted to the eight dance films commissioned by the Arts Council and RTÉ’s Dance on the Box initiative and premiered on RTÉ television during Dublin Dance Festival in 2006 and 2008. Also screened in the open air in Meeting House Square, Temple Bar, the films went on to travel to festivals in Africa, Australia, Europe, South America and the USA. Following up on that success, the Arts Council and RTÉ are delighted to come together again for a third season of RTÉ Dance on the Box. Four short films have been commissioned, by the choreographer/director teams of David Bolger & Conor Horgan, Cindy Cummings & Oonagh Kearney, Fearghus Ó Conchúir & Dearbhla Walsh and John Scott & Steve Woods.

 

 

Sonny Knowles, the inventor of showmanship and style, with his sharp suits, shining hair and big smile, is one of those rare Dublin personalities whose popularity with the ordinary man and woman knows no bounds. His ability to sing a song and make it his own is legendary. Having beaten cancer not just once but twice, Sonny is determined to recapture his place among the great live performers of the Irish music scene. Sonny is now entering his sixth decade as a performer! It is an amazing achievement that just underlines his popularity and professionalism.

 

 

 

 

 

 

Jonathan Ansell, who won the heart of the nation as lead vocalist in X-Factor runners-up G4, has been cast in his musical debut, starring in Bill Kenwright’s production of Jim Steinman and Andrew Lloyd Webber’s Whistle Down The Wind. The musical shows how powerful love can be when the innocence of childhood collides with the cynicism of the adult world. In a stunning combination of multi-award-winning songs, powerful all new staging and epic storytelling, Whistle Down the Wind is a record breaking theatrical sensation that is both mesmerising and moving.

 

Price includes light lunch. TOM HICKEY is one of Ireland's best-loved and most distinctive actors. A founder member of the Focus Theatre, he has been a regular on the stages of The Abbey and The Gate for many years, creating some of the major roles in Irish drama. MICHAEL HARDING received the Stewart Parker Award for new writing in 1990 and he has continued, ever since, to be lauded for his work both as a playwright and novelist. His plays have been produced by The Abbey Theatre, as well as internationally, and he was elected a member of Aosdana in 2000. Michael writes a column for the Irish Times every Friday - Displaced in Mullingar - chronicling small town life in the Irish Midlands.

 

Skeletons leap from suburban closets in Bookworms, Bernard Farrell’s hilarious and razor-sharp vision of a household savaged by the Celtic Tiger. ‘….and Larry, let’s try to show everybody that, recession or no recession, we are contented, confident and happy – and that this evening is going to be fun!” This month’s Book Club hostess Ann is struggling to stay calm, desperate to deliver the perfect evening of literary classics and late-night canapés. But when the all-female group invite their husbands to join the club, and a mysterious figure pays a visit from an upstairs room, everyone is forced to contend with a lot more than just Virginia Woolf. Opinions are challenged, suspicions aroused and tempers flare as their daily lives unravel into a saga to rival even the most outrageous fiction. Director Jim Culleton brings to life this hugely entertaining new play by the popular and celebrated playwright Bernard Farrell (I Do Not Like Thee Doctor Fell, Canaries, Lovers At Versailles) in an evening of wine and cheese, mystery and mayhem. An Abbey Theatre commission.

 

Mark Feldman is established now as one of jazz’s finest string players. Based in New York since 1986, he is a much sought-after player. Feldman has been closely associated with John Zorn on numerous projects and has performed with amongst very many others, Paul Bley, Muhal Richard Abrams, Lee Konitz, John Taylor, Dave Douglas, Tim Berne, Bill Frisell, Joe Lovano, Kenny Wheeler and Louis Sclavis. A violinist of astounding virtuosity, Feldman has been dubbed “the Heifetz of our generation”. Feldman is amongst the most prolific of contemporary recording artists having appeared on more than 100 jazz and improvised albums and more 200 albums during a decade as a session player in Nashville.

 

The blurb: "This comic genius is back due to popular demand!"