Ireland
theartsdesk Q&A: actor Damien Molony on 'Bergerac', 'Two Weeks in August' and returning to the stage
Pamela Jahn
Everyone knows Bergerac, or so you'd think. "I didn't", says Damien Molony. "I knew of the series, but it was only after I got the job that it dawned on me how big it was. I was at a wedding and people said to me, 'Damien, the car, the leather jacket, Jersey.'" Not least, John Nettles who, over the course of ten years, made the original archetypal "maverick cop" so iconic. The series ran successfully from 1981 until the early 1990s.Since Toby Whithouse's reboot of Bergerac in 2025, Molony has made the character of Jim Bergerac his very own. Season two launched in April this year, and although Read more ...
Jonathan Bank
I first became aware of the playwright Teresa Deevy, the Irish author of the Jermyn Street's imminent A Wife to James Whelan, while leafing through a production history of the Abbey Theatre through 1951 and finding her name six times between 1930 and 1936. She was among a handful of women writers who had multiple plays produced at Ireland's National Theatre.Born in 1894 in Waterford, Deevy lost her hearing at the age of 19, a result of Meniere’s disease, which ran in her family. She joined a deaf sister in London to learn how to lip-read and was captivated by the theatre, where she would Read more ...
Hugh Barnes
In his fascinating but overlong and sometimes unfocussed ‘political life’ of James Joyce – the biographer himself died in 2021 so was perhaps unable to make the necessary cuts to a 909-page text – Frank Callanan gives us a portrait of the artist as a young socialist who became disillusioned with socialism once he left Ireland in 1904 for exile.It’s an interesting revisionist view because scholarship has often tended to promote a depoliticised reading of Joyce’s work in order to burnish the novelist’s credentials as a god of 20th-century literary modernism, transcending politics in much the Read more ...
David Nice
A libertine who deserves punishment makes a good/bad start when a male director decides he really has tried to rape Donna Anna, and doesn't just enjoy post-coital badinage with her. Tom Creed thankfully begs to differ from, say, Kasper Holten – hard to believe that Don Giovanni is due for revival in the coming Royal Opera season – or Ole Anders Tandberg at the Royal Swedish Opera (toilets à la Bieito, whose ENO Giovanni was a horrible mess - there's only one, and only briefly, on the Lismore stage). The era of "she wanted it really" is over, and Creed's good folk are vocally the Read more ...
David Nice
Bellini's most consistently inspired opera, director Orpha Phelan tells us, has been set on a pedestal. Well, a pedestal would have been good for the titular Druid high priestess to deliver her celebrated invocation, a moon, perhaps some trees for the sacred wood, a chorus standing still in a semicircle. Traditional? Yes, but so is the shallow window-dressing for a rather interesting love-triangle. Though there's a splendid bellicose chorus, taken at a terrific lick here, Phelan goes in hard on the war aspect by setting the whole thing in a ruined church, post-apocalypse (she writes), with Read more ...
David Nice
Vivacious Carolin Widmann clearly adores her fellow players in the Irish Chamber Orchestra, where her brother Jörg served as Principal Guest Conductor and Artistic Partner until 2021. His successor, Henning Kraggerud, has already set his idiosyncratic mark on the ICO, most recently at a bracing all-Mozart programme. Haydn brothers Joseph and Michael don't sell nearly as well in Dublin, it seems, but this concert deserved equal success at every turn, with violinist Carolin begging comparisons but bringing her own lovely style to a similarly well-calibrated programme.When Michael lost a silver Read more ...
David Nice
As those of us who were there at what turned out to be his unofficial inaugural concert with the Irish Chamber Orchestra will know, Henning Kraggerud dances, and makes sure his fellow players can follow suit without self-consciousness. His theory is that Mozart must have danced a lot, too; his music certainly does, even as it sings. This programme drawn from Mozart's earlier compositions took us from a vital symphony by the 18-yearold genius to the middle movement of a violin sonata which, Kraggerud argues, ushered in a deeper vein given the 22-year-old's grief at the death of his mother Read more ...
Bernard Hughes
Rory Carroll’s previous book, Killing Thatcher, was terrific, and widely praised. It followed the IRA plot to murder the Prime Minister in 1984 and the subsequent police manhunt, telling the story with a journalistic degree of research and a novelistic eye for pacing and drama. For his follow-up Carroll’s gone back further into history to tell the story of the inciting event that ultimately led, along a winding path, to the Brighton bombing: the 1916 Easter Rising in Dublin. A Rebel and a Traitor: A Fugitive, the Manhunt and the Birth of the IRA is, in a different way, as gripping as its Read more ...
Adam Sweeting
The brainchild of Derry Girls creator Lisa McGee, this is a strange and tortuous tale which defies easy categorisation. There’s plenty of humour in it but it isn’t a comedy, and it also lays out a long trail of tragedy and pain spanning generations. You might argue that there’s a bit of redemption on offer, but then again you might not.Anyway, the narrative revolves around three women in their late thirties, Saoirse (Roisin Gallagher), Dara (Caoilfhionn Dunne) and Robyn (Sinead Keenan), close friends from childhood and now living in Belfast. Their old bonds are rekindled when they’re invited Read more ...
David Nice
Janáček's Vixen Sharpears has been making streamlined runs between eight Irish cities and towns, no doubt winning new admirers for this singular take on man, nature and the cycle of life. The chamber concept has some problems, but the 13-piece orchestra still makes beautiful work of a ravishing score under Charlotte Corderoy, the voices all project perfectly over it and the basic set design by Maree Kearns is impressive given its need to fit into diverse smaller theatres. It's always a tricky work to bring off in all its aspects: not really a children's opera, despite the picturebook Read more ...
Jenny Gilbert
Visual artists gave up on titles long ago, resorting to neutral labels such as Untitled. Choreographers still feel bound to tag their works descriptively, which can be a challenge if the dance is about everything or nothing. The Irish director-choreographer Michael Keegan-Dolan found a neat solution in MÁM , the 80-minute piece he made when he first arrived in West Kerry in 2019, choosing an Irish word that means so many things, and so many different things, that as a title it can only suggest everything and nothing all at once. A mountain pass, a burden or obligation, a handful of Read more ...
Aleks Sierz
The National Theatre has a long record of starry revivals so this version of John Millington Synge’s The Playboy of the Western World, with a cast led by Nicola Coughlan (yes, from Derry Girls and Bridgerton), quickens the heartbeats of anticipation, although audience reaction won’t be anything like that of the play’s 1907 premiere. That Dublin production caused nationalist protests from a riotous public who felt insulted by the playwright’s realistic portrayal of the Irish peasantry as lonely drunks, and by its theme of patricide and its image of female underwear. Sinn Féin founder Arthur Read more ...