Festival 2018 is a year of celebration, marking 15 years of IDGTF and 25 years since decriminalisation of homosexuality in Ireland.
In our programme we explore the diverse lives of LGBT people today – through comedy, drama, short-plays and powerful stories from around the world.
Cruising, getting married, LGBT families, staying together through ups and downs… we look at online hook-ups, the perils of lesbian dating, young LGBT couples, older gay men and bisexual love both male & female.
We tell intimate personal stories and shatter sexual taboos.
We ask… how much has LGBT life changed from the past? How much has it remained the same?
We shine a spotlight on pre-decriminalisation Ireland – from quirky and dark secrets of the Catholic Church to powerful accounts of the homophobia of the past – and look at LGBT struggles and triumphs from places as far apart as rural Ireland, Taiwan and the USA.
Find out more in our programme with secure online booking available now.
The appearance of Trump in the title Love Trumps Everything, has nothing to do with the orange man in the Whitehouse. Instead, it’s the thread that loosely binds three short plays where love overcomes life’s unavoidable obstacles. The first layer in this sandwich is Carolyn Gage’s ‘Calamity Jane Sends a Message to Her Daughter’, an intriguing story, brilliantly delivered by Maria Blaney and well directed by Philippa Alford. If it wasn’t altogether clear to me how this piece fitted into an LGBT festival, that’s no matter.
The sandwich filling is light. Kathleen Warnock gives us a personal insight into her journey to equal marriage with ‘How To Get Married in Five Steps and 17 Years’. And then, we are topped with Candice Perry’s ‘Made in Heaven’. This is a very amusing tale which suggests that in heaven, the big G will make sure we spend eternity with the right partner, even if it’s not who think it is!
A welcome accompaniment to these pieces is How We Glow, a cleverly crafted verbatim script woven from interviews with LGBT youth in New York. It is wonderfully performed by a bunch of bright, beautiful actors and certainly left me with reassurance that the kids really are alright.
Much credit to Jamila Humphrie and Emily Schorr Lesnick for this refreshing and important social document.
‘Love Trumps Everything’ and ‘How We Glow’ continue at the Teacher’s Club until May 13 at 7.30pm, with a matinee on Saturday at 2.30pm, tickets here.
The Teachers’ Club 9pm until Sat May 13 (matinee: Sat 13 @ 4pm)
Written and Directed by Otto Farrant & Finn Cooke
Spool is an introspective analysis about what it’s like to be a young man. Honest, candid and raw, it shows the inner-monologue that haunts every young man and the extreme pressure they can sometimes put themselves under. These pressures often manifest themselves ten fold in gay men and it’s for that reason that this piece is a skillfully judged and important addition to an LGBT festival programme.
Finn Cook (Mind) is as skilled a poker-faced actor as Otto Farrant (Body) is a contemporary dancer. Attached initially with a piece of rope, their use of expressive movement, where body ‘spools’ information to feed the mind is a joy to watch. Ultimately, body and mind fall out and agree to separate, leading to a series of interpretive scenes that show just how important it is for Mind and Body to work together.
Giving an intelligent nod to the working methods of Frantic Assembly and the early workings of The Marx Brothers, this is a well thought though and ridiculously originally piece of work. Spool seems an unlikely context for a winning double-act, but these talented young men have the potential to be to theatre what Penn and Teller are to magic.
As important to starting a conversation about Mental Health issues in young men, as it is to emerging artists and original and unique performance style – Spool will impress and delight you and must be seen.
May, 11 2017
By Jim Dalglish
Directed by Jim Dalglish & Ian Ryan
The Pearse Centre 7:30pm until Sat May 13; €10 matinee @ 4pm Sat May 13
Without wanting to give anything away, Lines in the Sand achieves something unique. The audience is left to wonder where the hell we are and what the hell is happening. As we uneasily let our minds race in all directions, trying to second-guess the clever writing of Jim Dalglish is impossible.
Nick Bucchianeri (Boy) should be applauded. A skilful and natural young actor, being given such layered and challenging material at such an age demonstrates how talented he really is. Tony Travastino (Man) doesn’t go easy on him either and it’s his confident and unwavering approach, to play the truth of his character – without compromise, that grips you right from the opening scene.
Whilst cleverly twisting and turning, at times, Boy seems to break into heartfelt monologue with insight and knowledge way beyond his years and his character arc seems somewhat implausible at times, given that these events only happen over one night. This really should be a full length production where character progression can be slowed, ensuring we see all the stages of how these two men deal with their unexpected meeting.
Where this play ultimately succeeds however is in is how it deals with the detail of what has happened surrounding this story. As an audience, we are left to conjure up our own images. It is this clever technique, utilizing the audience’s ability to imagine what they don’t want to imagine that raises the stakes, taking us with these characters and makes us care as if we were there.
A brave psychological thriller, Lines in the Sand explores the struggles of growing up gay and the dangers boys and young men face whilst they try to desperately ‘find a place where you aren’t afraid to be who you are inside’.
Now, I don’t know much about boxing but I do remember former Heavyweight Champion Tyson Fury got into hot water last year over his comments on gay people, causing a flurry of news headlines on whether he was entitled to be shortlisted as BBC’s Sports Personality of the Year. This brought up the subject of not only homophobia in boxing, but homophobia in sport in general.
In Hope Theatre Company’s Gypsy Queen, Ryan Clayton (those eyes!) plays Dane Samson, an out and proud gay boxer who has fought the struggles of homophobia within the boxing community and won. Rob Ward (also the writer of this piece) plays ‘Gorgeous’ George O’Connell, who is about to embark on not only a professional boxing career but a gay love affair he never saw coming.
From the get go both actors bounce with energy through a flurry of characters, including Samsons’ secret fuck-buddy (again beautifully played by Ward). A special mention also must go to Clayton’s, Aunt Rose. It takes some balls to try your hand at the Irish accent in front of a home crowd, and although it was hard to pinpoint exactly which county the accent came from, it was still a charming attempt!
I was taken aback at how well their faces and physicality changed for each character each actor played. Both Ward and Clayton chew up the scenery in the moving final scenes of this piece. Hats off to Adam Zane for his stellar work in direction and Ward’s writing was so good, I didn’t see the time go by at all
Gypsy Queen continues at The Players Theatre at 7.30pm until May 13, with a matinee on Saturday at 2.30pm, tickets here.
Here’s a show that packs a punch with a diamond-clad fist! Masterfully written and performed by Margo MacDonald, The Elephant Girls recounts the escapades of a real-life, all-women gang, who roamed the London streets in the 1920s.
We enter this hard and harsh world by way of having a drink with Maggie, one of the gang’s toughest members. She has a scowling face and rough voice, which contrast sharply with her impeccably tailored suit and coiffed hair. It is a cruel world she inhabits, and Maggie has learned to savagely survive it.
Maggie’s relationships with other women range from adoration to disgust. She uses and abuses some, while demonstrating total loyalty and commitment to others. Recounting a fascinating story, MacDonald gives a very powerful and captivating performance, deftly guiding us through this dark world of crime and cruelty. This one is well worth a watch.
The Elephant Girls continues at the Outhouse Theatre at 9.00pm until May 13, with a matinee on Saturday ay 2.30pm, tickets here.
FESTIVAL REVIEW: The Elephant Girls runs at Outhouse until Saturday at 9pm Saturday matinee at 2.30pm.
Canadian Margo Mac Donald dons a mafia style pin strip suit to tells us the fascinating story of the East End of London’s notorious lesbian gang, which terrorised, lusted, controlled and rampaged through London for almost a century. Maggie Hale (Mac Donald) is our butch guide through the fascinating of power and criminality at a time when London’s underground pulsated with life, death and hidden passions.
Grappling and succeeding with a cockney accent, this super smooth no holds barred narrative is gripping, creepy and criminal. Directed by Mary Ellis we encounter Hale in a bar and after a few pints she begins to spill the beans on a century of secrecy that is a riveting as it is revealing. Beautifully and assuredly played, the gang undoubtedly did succeed and endure, if all its members packed a lunch like Mac Donald’s assured gender stretching performance delivered with charm and aplomb.
You will not know this story, but you will know the characters intimately by the time the story of the Elephant Girls concludes. It is a fascinating insight to a chapter of the hidden history of lesbianism condemned to the shadows and for far too long. The bright light shone by writer Mac Donald is truly illuminating – her performance memorable.
A must see. AO’B
FESTIVAL REVIEW: Spool runs at The Teachers Club until Saturday 9pm and Saturday has a matinee at 4pm.
Two handsome young men are tied together in a beautiful exploration of the pressures faced by young men in exploring modern masculinity. Engagement with social media can confuse and prioritise the physical self from the critical uniqueness of the individual – the emotional self. How do you survive today if one dominates the other? Finn Cooke and Otto Farrant demonstrate how these two are different – one balletic, one literal, both are inter-dependent. Both sleep, wash, play, breath and dance together in perfect harmony. The pressures of modern existence become too much when one feels he can survive away from the other.
This is a blend of physicality, dance and intellect with some beautiful balletic moments, strong and humorous imagery, innocence and relevance. Farrant and Cooke shed all physical inhibition to blend, perform and flow together until cut in two. Can one survive just in body or just in mind in modern society where image is all and communication of the person’s value diminishing in a virtual world?
This melodic duet of body and mind is perfect for audiences of all ages – it explores masculinity in a beautiful form rarely seen and that is just one of the clever levels unmasked in this delightful gem developed by two young performers with a lot to say. Don’t miss it. GF