The scripts of the plays ‘Wretched Little Brat’ and ‘Eirebrushed’ by Brian Merriman have been published as a single-volume book on sale now.
Both works challenge the commonly held understanding of two key events in modern Irish history and explore the personalities involved – the 1916 Rising and the trial of Oscar Wilde and its aftermath.
‘Eirebrushed‘ tells the untold story of the lesbian and gay heroes of 1916. Drawing on extensive research this play restores the voices of the LGBT heroes of 1916, asking ‘what makes a hero?’ and what would they think of the Ireland that has emerged post-1916?
Eirebrushed was a sell-out hit of IDGTF 2014, has featured as a play reading abroad and returns in the IDGTF 2016 programme.
‘Wretched Little Brat‘ premiered at the IDGTF 2015 ‘Winter Programme’. It goes beyond the infamous trial of Oscar Wilde to uncover the true story of persecuted love, moralistic law and endless litigation between Lord Alfred Douglas (Bosie) and Robbie Ross, Oscar Wilde‘s lovers.
This joint volume will be on sale at the Festival Box Office and at Festival venues for just €10.
It can also be purchased online, including postage and packaging to Ireland and abroad for €15.
Secure Online booking for all shows is now available for all shows, powered by Ticketsolve available 24/7 here!
Here are some booking tips:
Our brochure is now available throughout Dublin city centre and at venues or you can download a copy.
For immediate release
2016 the year of our Heroes – Thirteenth International Dublin Gay Theatre Festival Launches
The programme of the world’s largest Gay Theatre Festival was launched today by Minister of State for New Communities, Culture & Equality, Aodhán Ó Ríordáin, celebrating a century of LGBT heroes.
“We are delighted to once again host the world’s biggest and most diverse LGBT Theatre Festival from May Bank Holiday for two weeks in this commemorative year. 2016 not only allows us commemorate the contribution of gay people to the freedom of Ireland as a republic, but the many people who led the way to a more equal world for LGBT people. This is our thirteenth year staging new and diverse theatre, welcoming artists and audiences regardless of their sexual identity. Everyone is welcome in this unique festival of theatre” said Brian Merriman, who founded the event in 2004, the 150th anniversary of the birth of Oscar Wilde, with the aim to create new opportunities for visibility and affirmation of emerging LGBT artists and theatrical works.
“I am delighted to be here at today’s launch. The festival is crucial to providing a space for LGBT voices in the arts,” said Minister Ó Ríordáin, “This of course is a very special year for our country and as we reflect on the last 100 years and all of the positive things that we have achieved. We need only cast our eyes back to last May, to when we became the first country in the world to vote Yes to marriage equality, to see how far we have come as a nation.”
For two weeks the Festival will offer a unique opportunity to see LGBT culture on city centre stages (10 performances each night), presented by theatre companies from Ireland, the UK, USA, Canada, Iran, Russia, Germany, The Netherlands, Spain, & Greece. From a wordless contemporary interpretation of the mythical story of Apollo & Hyacinth, to a satire of last year’s Marriage Equality Referendum, this varied programme of music, dramas, comedy and dance is a celebration of diversity and identity.
This year, the festival is especially excited to feature a host of 1916-themed productions in the form of full length plays, including “Eirebrushed,” written and directed by Festival Director Brian Merriman, in which the hidden lesbian and gay heroes of 1916 return today to discuss their place in modern Ireland. There is also a collection of Irish historical shorts and a free academic seminar detailing the forgotten role LGBT people and women played in 1916.
Also featured this year is the story of Alan Turing whose computer cracked the Nazi codes in World War II, and Ireland from the times of Oscar Wilde to the modern heroes that passed the referendum for equal marriage. Helen of Troy, the Greek banking crisis and even “the devil” Julie Andrews, make an appearance in a programme that welcomes, for the first time artists from regimes who endanger their lives as LGBT people in Russia and Iran.
Last week, the festival also received an endorsement from New York City Councillor Daniel Dromm, for the positive impact their work has had on LGBT people of Irish decent. “It is a great cause for celebration that Dublin is the recognised worldwide centre for the celebration of the LGBT identity through theatre as an art form.” said Brian Merriman.
They are all a part of the thirteenth annual International Dublin Gay Theatre Festival. Are You?
For further information please contact:
Brian Merriman, Founder/Artistic Director
Introduction from Festival Artistic Director, Brian Merriman:
Welcome to the 13th Festival, where we will pass our 3,500th performance.
It is an exciting year, not only will we commemorate the lesbian and gay heroes of 1916, but heroes of the present day too – our guests who bring their stories for the first time from Russia and Iran. It is so important that we can provide a stage for all in Dublin – the birthplace of Oscar Wilde. We rely on you to be their audience – to hear their stories and affirm their LGBT theatre.
Alan Turing and Oscar Wilde form a bridge before and after 1916 to the present day and to have companies bring their work to you from Ireland, UK, USA, Canada, Netherlands, Germany, Spain is important. Our first partnership with the Kings Head Theatre in London demonstrates clearly that Dublin is a recognised hub for celebrating the contribution and stories of LGBT people worldwide through theatre as an artform.
Despite this incredible profile worldwide, we are still 100% reliant on voluntary effort to bring this unique form of theatre to Irish audiences. We still have no office, no staff, no reliable resources which is unequalled in any other event operating at the scale we do. How do we do it? Two key elements – our volunteers and our audience! Companies make huge sacrifices to come to Dublin and our volunteers work tirelessly to ensure they are supported, that you know about it and that we co-produce quality theatre, giving a stage for the first time in Ireland to great LGBT theatre.
Thank you to all who continue to support us, to our grant aiding bodies the Arts Council, Failte Ireland and Dublin City Council, our sponsors and the many people who keep coming forward offering help and filling our theatre seats!
Please continue to enjoy this diverse programme of drama, comedy, music, history and identity. Follow us on social media and mention us frequently in your own posts. Please step forward with a suggestion or support – we love to hear form you! To all who have brought us to our 15th season (we had two winter festivals) – thank you.
Looking forward to meeting you again during the first fortnight in May! We are all part of the IDGTF 2016 – Are You?
Thank you for your invitation to speak today – it is rather a narrow topic and I am sure, having been alphabetically ordered, that by this stage, the distinguished speakers have already covered the issues comprehensively. So I will try to take a particular perspective. I want to ask some questions and set you some challenges.
LGBT people are like all others, born with distinct characteristics that complete their identity. These characteristics can be used positively or negatively in policy and culture, to lead a fulfilled life or to justify the placing of barriers on the road to personal, social and economic freedom and participation, not encountered by other people. How do we cope with that? LGBT people come to expect and tolerate a higher degree of discrimination. We always have. We became tougher, as so many young people who found they were no longer connected with family or community, in a way they were schooled to expect, became independent in their need to survive. The strong ones did anyway. It is comforting to speak in the past tense about that, but it is not wholly accurate.
We all have our differences. It’s what makes life interesting and it is of use. As the recent referendum demonstrated – society needs its minorities. Why? Because minorities often create the opportunity for the majority to come together, to finally do the right thing and what celebrations ensue! Just as was said post decriminalisation – ‘sure you are all legal now, what’s the problem? This is not an accurate analysis of what our life experience is or what has been embedded in a workplace and societal culture.
Watch out for the signs. I worked while doing my Masters here in UCD on a school show and noticed that within a day or two, many students made a point of telling me one of the teachers was gay – I was never told anything personal about any other teacher. Section 37 of the EEA allowing religious bodies to discriminate in order to protect their religious ethos was not born as a measure to discriminate against LGBT employees, it was born to protect a minority religion from being subsumed by the majority religion’s ethos in the healthcare system. Beware of the law of unintended consequences. I recall when civil partnership was introduced, public servants who applied for their legal entitlements to seek ‘marriage’ leave were now risking endangering their employment, if they worked in the health or education sectors. The majority religion was delighted to support the minority religion’s rights, smartly recognising the exemption as a licence to discriminate against another minority they found far more threatening.
As we celebrate this new equality, we pay little attention to the legacy issues. To those who were prohibited from getting married or believing they could sustain a relationship, as families ignored their need to love, it is too little too late. Those whose compulsory singlehood, means that even if they had a partner at 65, this legislative reform came too late to provide for pension qualification, as they retired before 2011 and the discrimination remains ongoing for those people in their older age.
At one time, the common bond of shared discrimination united us – there is a divide now – a generation who are born free and those who were not – it is vital not to leave them behind as we stand on their shoulders. I see many signs that that is exactly what will happen in our new freer culture.
There is also a human reaction on our side. When you are no longer different, nobody wants to interview you – and I know some NGOs are finding this new normality quite an adjustment, as are young people who created a media identity from being ‘different’. We are not. We must not create issues for the sake of maintaining profile. I asked Messrs Manning and Mills on Twitter would they ever be invited to speak anywhere by the Iona Institute once the referendum was decided? I’ve been proven correct. A dysfunctional society rendered us different because it was incapable of inclusion. The new Republic thrived on finding, ostracising and punishing difference – ask the Magdalens, the institutionalised children, people with disabilities and many others including of course ourselves. Perhaps we will finally no longer need to explain ourselves in our families, in our communities and in our workplaces? That will help.
It is held that customers are more likely to ‘do business’ in a place where you can ‘see yourself’ behind the counter. How many LGBT citizens see themselves reflected in their workplace or service providers? Diversity means difference – but it is not acceptable for us to wait to be declared or labelled different or to accept any such declaration. It is for employers and the service providers to develop the knowledge and capacity to respond to difference. In doing so, it will clearly see the merit and ability of all workers. Those who don’t, or don’t want to embrace this equal opportunity, may plead the ‘cost factor’ in accommodating diversity. How much does changing your attitude cost? – nothing. Attitudes change more rapidly when there is leadership from the top. Attitudes that have been embedded in workplace culture for decades, will not be changed in any meaningful way overnight. They will not be changed by holding a conference, tolerating a small diversity project, setting up an LGBT committee, while concealing the old ways at the core. Real change means invoking the merit principle and sticking to that in the workplace.
It is important too that the outcome of the referendum does not push our detractors underground, where they can influence and thrive. There are those who wish to maintain discrimination and they exist, but dangerously are perhaps now less visible. There is an advantage in being able to see ‘the enemy’. Discriminators must be told clearly that it is they who now behave differently, by being out of step with an inclusive, pluralist society. The boomerang of difference must be swiftly returned to those who seek to discriminate. The responsibility to explain such behaviour is now theirs, not ours.
Human rights are not something one group gives to another – they are something you
I was never openly discriminated against – people knew that I had learned to tackle that form of discrimination head on. What I encountered was far more covert. It is the whisper at the coffee break at the interview panel. The slight hesitation at the reference phone-call, the mention of your family status, or of course the physical gesture. And people in positions of privilege, still sore at the defeat of exclusionary Ireland will, like the Masons, still find a means to use their codes and ‘handshakes’ to get their prejudiced points across.
I have during my career been present at many a human rights discussion. I have heard a ‘human rights’ protector proclaim that the current ‘gay agenda’ was to ‘tell people not to kneel down at mass’ or as another protested that she had’ given two of them a lift in her car one day’.
So while the electorate’s message is clear that we are no longer different – the challenge has always derived from the fact, that we accepted the shame and the ill treatment in the past. Do not accept being treated differently now. Your personal life can remain that or you can share it openly in work. What is different and shameful is ongoing discrimination and whether it is on this ground or any other. We have learned the hard way – our commitment to combating discrimination should not be just for ourselves, but to combat all forms of discrimination. Where its existence can be tolerated, it can be reborn.
I have always believed in equality, and even I found it a challenge to fight blatant, hurtful, discrimination. I was giving a talk one day and when I left, I asked myself what I was going to do about the discrimination I was facing. In order to seek redress we need to ‘out ourselves’. So I did take on two bodies. One a bank and the other a service provider and challenged their harassment and discrimination. (Give details of cases). I practiced what I required of others, challenged and won. It wasn’t easy, but putting up with discrimination is worse.
Nobody here needs special treatment in the workplace of the future – we need equal treatment. Though the laws protect us from discrimination in employment and in the provision of goods, facilities, services and accommodation, we who have made progress, now have an ongoing duty to challenge the concealed actions of those who cling onto their powerful positions, where they can discriminate, covertly, at will.
We are stronger now. Our self esteem and mental health is better. Our families are more loyal, our communities more welcoming. We have a right to expect fairness and to be judged only on our many merits. We each must work to ensure that, not only for ourselves, but to prevent other minorities accepting or facing what we did. Ireland is a better place now, but our duty is to embed a new culture of respect in workplaces and communities where none previously existed. Ireland has been cosy without that for 100 years. It’s a lot of time to make up for.
IDGTF is the largest event of its kind in the world. It celebrates the contributions of the LGBT community through theatre and gives a valuable platform to talented and varied participants from Ireland and abroad.
Our programme is carefully curated by our Artistic Director from over 100 submissions to ensure high artistic standards. But most of all it is fun, exciting and open to all!
In 2016 we celebrate heroes and history makers. From ancient Greece to Oscar Wilde to 1916 and on to modern Ireland, Iran and Russia we explore where we have come from and where we now.
Our programme features revolutionaries, footballers, boxers, nuns, hedonists, feminists, geniuses, heroines, lovers, poets and more!
Here is a preview of the 2016 Festival Programme:
Julie Andrews, Alan Turing, Padraig Pearse, Oscar Wilde, Roger Casement and Helen of Troy will all be joining us for Festival 2016. We hope that you can join us too!
Our annual Table Quiz takes place on March 22nd from 8pm. Tickets are €40 for a table of 4. If you don’t have a table come along and we will find a way to accommodate you.
Hosted by TV3’s Conor Clear join us for great prizes and a raffle.
Find out more here.
Let’s celebrate you and me as we explore LGBT identity in all its forms.
In 2017 we bring you the best gay-related theatre from Ireland and across the globe.
join them on an amazing journey from May 1st – 14th 2017.
A letter from Brian Merriman, Artistic Director of the IDGTF to the Irish Times regarding the controversy about the level of female representation in the Abbey’s 1916 Centenary Programme.
Sir, – The “grant cake” that too many depend on is too small. Creativity today is about conforming to pre-established criteria and frameworks designed by committee.
We’ve a question for #wakingthefeminists, which we support, how many of you have engaged with our unique International Dublin Gay Theatre Festival, which has staged and supported 3,000 performances of new works that prioritise feminism, identity (and masculinity) since 2004?
We identified that there was a paucity of women writers and opportunities for their work to be seen, so we worked on it. We mentored, fundraised, risked knowing audiences would be small, but created a valuable space. In total, after 12 years of identifying and supporting this vital work, we get combined (arts and tourism) grants of €71 to stage each performance and to run the festival. Has anyone ever raised an eyebrow, bought a ticket or during this debate referred to our achievements in this field long before it began trending on social media? The real debate should be about why people are excluded from theatre and accessing resources when they are doing what theatre should be doing. If all the feminists and their supporters turned up at our exceptional programme of feminist theatre staged in Dublin this year, we wouldn’t have had so many empty seats and so many female artists left in debt.
It’s cool to fill the Abbey Theatre when the cameras are there – it’s more valuable to support theatre when it’s being created and performed at bargain prices, in the hope that authentic voices can be heard in a sector crying out for invigoration and relevance. – Yours, etc,
Gay Theatre Festival,
“It’s For You!” – Bank Holiday Start for the 12th International Dublin Gay Theatre Festival
Dublin’s May Bank Holiday starts with curtains up on a dozen new Irish and international shows. Our diverse programme of accessible theatre proudly features performances by theatre companies from Ireland, UK, USA, Canada, South Africa, Iceland and Russia, with an entirely new programme beginning Monday May 11th. Playwrights and actors from the world’s best gay theatre companies will be entertaining Dublin audiences and showcasing their talents through a wide range of comedy, drama, music and dance theatre performances.
This year’s programme is full of compelling stories exploring universal themes from an LGBT perspective. Pauline in “Tuesdays at Tesco’s” used to be Paul, and her relationship with her father is strained as he is reluctant to accept her true self. In “Leaving Narnia”, local lad James Michael O’Sullivan is ‘as terrified as a turkey in November’ as he is about to come out to his parents. The Dean Kriel prepares for a private conversation with Russian President Vladimir Putin in “I’m Going Through Something”, where he takes the audience on a journey into the mind of a man split between himself, his nation, and his dreams. These themes have the power to resonate with all audiences, and are just a sampling of this year’s diverse offering (full programme on www.gaytheatre.ie).
“Everyone has a gift to tell their own story and for twelve years we have made Dublin the home of LGBT storytelling, passing our 3000th performance this year. It really is for you – we are communicating through theatre as an art form with the society in which we live, love, work and create. Previous festival alumni are now fronting major TV shows (David Ames, Holby City) or West End triumphs. At Dublin’s unique gay theatre festival, you will see a great array of talent, regardless of their or your orientation, telling stories from our history or presenting a new perspective on modern living. You are welcome and the ticket prices are great value,” said festival founder Brian Merriman.
The 12th International Dublin Gay Theatre Festival has something for everyone – from a hilarious take on life in rural Ireland in “The Equals” to an invitation to join the Cult of Cosmic Purgatory in “CASTRATI – An Electro Drag Opera” and a behind the scenes look at a 1950s sci-fi TV show in “The Further Adventures of…”, and so much more.
“Don’t attend because it is gay theatre, attend because it is good theatre!”
For further information please contact:
Brian Merriman or firstname.lastname@example.org
Secure online booking is now open on www.gaytheatre.ie. Tickets are from €10-15 with a new nightly venue ticket of €25 for two plays in the same venue (7.30pm/9.00pm) being launched this year. Matinees are on Bank Holiday Monday (May 4th) and each Saturday (May 9th/16th). Box office opens April 27th from 12 noon to 3pm daily in the Grattan Coffee Shop/Boteco Brazil on 6 Ormond Quay Lower, Dublin 1. An entirely new programme of theatre begins each Monday 4th/11th May 2015, totalling 183 performances of 27 plays, music, comedy and dance.
We will at the Edinburgh Festival Fringe from 14th to 19th August and if you have have a production we might be interested in we’d like to hear from you. We have taken productions from every Fringe for the past 10 years and we hope that 2014 will be no exception.
Click here to find out about what we are looking for.
Click here to find out about submitting to our 2015 Festival.
For more information, to get in touch or tell us about your production please contact our Artistic Director Brian Merriman at email@example.com.
Finally if you are looking for Festival tips with an LGBT relevance follow us on Twitter: @GayTheatre
‘Away From Home’ takes on another taboo – the premier league- in the Players Theatre at Trinity College. This well-produced one man show reveals the secrets of complex masculinity in ‘the beautiful game’ in a seemingly honest portrayal of contemporary sporting life.
Kyle is a complicated young man, rebellious and leading a double-life as an escort, comfortable enough in his own skin. He socialises with the ‘lads’ at the soccer games but services the lads on his client list. Hartsthorn-Hook Productions and Working Progress Theatre Company (UK) present a revealing drama which tackles homophobia in football both internal and group, in a very frank way. Kyle (Rob Ward) is a deserved star of one man show theatre. He is handsome, energetic and totally convincing as the desirable young escort who finds himself ‘crossing the line’ with a famous client.
Writers Martin Jameson (director) and Rob Ward unpack the hidden side of soccer from supporter to player which has strict boundaries between ‘laddishness’ and affection. The play does slightly over-egg the issues near the end, but it is Ward’s completeness in the role that drives the play forward with an honesty and struggle for truth and acceptance. It unpeels the layers of protection of the insisted machismo of throwing your arms around each others in supportive joy when your team scores, to the pub banter that is often offensive to the guy you have your arm around in celebration. Kyle’s separation of all aspects of his life is a precarious balance between telling the family he works with friends and vice versa. It all comes crashing down when love intervenes in an impossible scenario of clashing careers, publicity and fear. The charismatic playing engages the audience from the start and puts this performance truly into the premier league. It is sexy, honest, energetic and convincing throughout and will appeal to soccer supporters, players or anyone who finds love in an unexpected place. Showing in Players Theatre, Trinity College (Through Main Gate, veer left three blocks) at 9pm nightly and 4pm on Saturday.
Festival Review Team
‘Tits Up’ is the gloriously politically incorrect, predictable comedy contribution from the ever popular ‘Acting Out’ LGBT community drama group that continues to power ahead. It is good to see this form of theatre being included in the programme for 2014. There was quite a subdued audience on Monday night and it is essential with a comedy that insists on ‘sending up’ ever possible minority in an ‘un-PC’ way to go with the flow. If you don’t, you will find yourself the subject of the outrageous humour in the next sequence.
The play centres around a mismatched couple, Clive (Howard Lodge) and Susannah (Rachel Fayne) whose marriage survives on putting others down rather than facing their own realities. It is a series of monologues by writer Sean Denyer than annoyingly evolve from the predictable into the ‘you can’t help but laugh’ scenario for the audience – and that’s what you do – laugh at things you probably should not. Clive is an interior designer in serious denial. Susannah is his outrageous spoiled D4 wife who insists on not ‘judging’ people with hilarious rebounds. However ultimately these thin stereotypes prove to be quite open to change and new horizons, even if some precious status symbols get sacrificed along the way. This marriage fumbles along until Magda and Chuck intervene and all hell breaks loose in the previously sublime surrounds of D4 living. The plot is contrived – it has to be. Sometimes the build up to the predictable is agonising as there can be nothing subtle about this comedy. The pace is somewhat laboured and deliberate and the audience does not need that much assistance in throwing itself into a series of one liners designed to offend and amuse. Do not bring your value system to this just join in one of Susannah’s aerobic classes and watch the consequences unravel as two lives go ‘tits up’ is an hour of farce, humour, and fun in a well lit and camp sound-tracked show in the entertaining hands of this community drama group. Runs at 9pm until Thursday.
Festival Review Team
‘Eirebrushed’ by Brian Merriman is a controversial and challenging piece of theatre that takes a lot of cultural taboos and shakes them to their core. It is what a gay theatre festival is about, if it is to assert a mainstream relevance. This moving, provocative story invites Pearse, Casement, Gore Booth and O’Farrell back to the new ‘Republic of Equals’ to ‘tell their truth’ in 75 minutes of energetic delivery, interesting construction and a rapid fire of ideas, theories, sacred cows and twisted interpretation. It casts the fight for freedom in 1916 beyond the nationalistic struggle and into one for personal freedom. It makes a lot of sense. Ideas are thrown out in quick-fire delivery of questions with answers to an acknowledged audience but it stops rightly short of insisting on a particular conclusion. That is up to us and we have a range of options we didn’t have before the play began to consider. The audience has to work at this and it is definitely a piece that a walk along the boardwalks afterwards will help to digest.
Killian Sheridan presents a fragile Pearse, not the leader expected. He still struggles with truth and dogged certainty, a century later. Stephen Gorman’s rasping Casement is well presented without any baggage. He is forthright, to the point, honest sometimes with considerable humour. That is what might be expected of a story of heroism in 1916, but the discussion of womens’ rights, passionately placed in the hands of Joanne Logues’ Eva Gore Booth and Diana O’Connor’s empathetic Nurse Elizabeth O Farrell, is the real feminist heartbeat of the piece. Logue’s is eloquent as a campaigner and writer. Farrell’s down to earth, low energy logic connects the audience into a complicated plot with humour and ease. There is some astonishing research and the thematic connection of the common bonds between the heroes in the final scenes is powerful and revealing. The relevance of the struggle for personal freedoms today is not lost. Excellent lighting and design graphics keep the heartbeats pounding as the Republican idealists stand accused of replacing a political oppressor with a conscience oppressor for another century. It is a battle of Church and State as Casement notes, ‘oppression is often defined by borders but the worst is within’.
This play reaches out way beyond the remit of this theatre festival and if it begins a new approach to examining this oncoming decade of anniversaries then it will contribute something relevant and important and fuel many a debate in the days to come. It will not be so easy to ‘airbrush’ out the contribution of LGBT heroes in the future or to accept the narrow definition constructed in the text books so easily and limiting. Provocative, controversial, revealing and new. Runs until Saturday in the New Theatre at 7.30 pm with a matinee on Saturday at 2.30pm.
Festival Review Team