Sleeping Beauty Programme

LANDMARK
PRODUCTIONS
left to right: Owen Roe as Tom, Cathy
Belton as Kyra in Skylight
(photo : Tom Lawlor)
Bryan Murray as Martin, Susan FitzGerald
as Stevie in The Goat, or Who is Sylvia?
(photo : Paul McCarthy)
Pauline McLynn as Noirin in
Dandelions (photo : Shane McCarthy)
Philip O’Sullivan as The Librarian in
Underneath the Lintel
(photo : Patrick Redmond)
75 Bath Avenue
Dublin 4
tel (+3531) 667-4684
fax (+3531) 668-2089
[email protected]
Landmark Productions was established by Anne
Clarke in 2003 to produce work in Ireland and
to tour Irish work abroad.
In the three years since then, the company
has managed four international tours for two
theatres on three continents, and produced
four Irish premieres and one world premiere in
Dublin. David Hare’s Skylight won universal
critical acclaim and broke box office records at
the Project in 2004. It was followed last year
by Edward Albee’s Tony-Award winning play
The Goat, or Who is Sylvia?, which attracted
similarly outstanding reviews; by the world
premiere of Dandelions, which enjoyed two
sell-out runs at the Olympia and introduced
Fiona Looney as ‘a new voice in the theatre’
(Irish Times); by Neil Duffield’s adaptation of
The Secret Garden, co-produced with The Helix,
last Christmas; and by Glen Berger’s existential
detective story, Underneath the Lintel, which
played at the Project, Helix and Andrews Lane.
Skylight was presented in partnership with the
British Council; The Goat and Underneath
the Lintel were both made possible by single
production funding from the Arts Council.
Future plans include the Irish premiere of
David Harrower’s shattering play Blackbird at
the Project in February 2007.
photo: An Taoiseach,
Bertie Ahern, TD with
members of the Helix
Volunteer Corps
THE HELIX
The Home Of Family Entertainment In Dublin
The Helix is a world-class arts centre, serving the people and
audiences of North Dublin and beyond with a programme of
music, dance, opera, theatre and high quality family entertainment
throughout the year. If you would like to receive information
on our events, you can join the mailing list by phoning the Box
Office on 01 700 7000 or join online at www.thehelix.ie
One of the things that makes The Helix such a special place to
enjoy a show is the warm welcome patrons receive from our
volunteer stewards. If you would like to talk to us about joining
the volunteers, please phone Sheelagh Rafter on 01 700 7117.
HELIX STAFF, AS AT
13TH NOVEMBER, 2006
Anna Bartkowiak
Vincent Bell
Beata Anna Bielec
Ciara Bonny
Michelle Brady
Peter Brennan
Geraldine Brooks
Philip Bruner
Timothy Buckley
Emma Canavan
Una Carmody
William Carraher
Alanna
Cherry-Buckett
Aisling Coyle
Joseph Curran
Suzanne Curtis
Finance Assistant
Technician
Cleaning
Front of House
Box Office
Bartender
Front of House
Stage Door Keeper
Technical &
Maintenance
Manager
Bartender
CEO
Technician
Front of House
Box Office
Manager
Technician
Bartender
Karl Dempsey
Dawson
Alister Doyle
Billy Dukelow
Grainne Farrell
Siobhan Fitzgerald
Anja Friedrich
Mary Geraghty
Keith Gormally
Shaunta Guha
John Hayes
Darran Heaney
Rachel Horan
Jennifer Hyland
Brendan Kelly
Jonathan Kelly
Owen Lindsay
David Loftus
Sam Logan
Jeremy Lord
Laura McGuigan
Box Office
Front of House
Bartender
Technician
Administrator/PA
Front of House
Front of House
Bartender
Bartender
Front of House
Conference &
Events Manager
Marketing
Manager
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Technician
Technician
Technician
Cleaning
Box Office
Stage Door Keeper
Front of House
Deborah McHugh
Joseph Murray
Patricia Navan
Box Office
Bartender
Senior Box Office
Supervisor
Michelle Navan
Box Office
Roisin Ni Dhonail Bartender
Ciara Ni Mhaolagain Front of House
Tara Nolan
Programme
Co-ordinator
Nicky O’Brien
Technician
Diarmuid O’Brien Financial
Controller
Jennifer O’Connor Technicaian
Brian O’Reilly
Senior Technician
Martin Ormonde Bar/Café Manager
Daniel Persse
Senior Technician
Aisling Phelan
Marketing Officer
Paschal Quinn
Cleaning
Supervisor
Sheelagh Rafter Front of House
Devendra
Ramasawmy
Bartender
John Reynolds
Technician
Dave Rooney
Loretta Rooney
Una Ryan
Petr Sarsky
Emma Sothern
Alan Stanley
Amanda Sullivan
Alison Sweetman
Barbara Tier
Daradh Toner
Gillian Treacy
Deirdre
Vann-Bourke
Bernard Walsh
Dong Hua Wang
Colin White
Colin Williams
Gary Woods
Danny Xhang
Stage Door Keeper
Front of House
Front of House
Bar/Café
Supervisor
Bartender
Bartender
Box Office
Front of House
Box Office
Senior Technician
Front of House
Front of House
Manager
Cleaning/
Maintenance
Manager
Cleaning
Box Office
Technician
Technician
Bartender
CHARLES PERRAULT
RUFUS NORRIS
Charles Perrault was born in Paris in 1628 to a distinguished family of highachievers, and was sent, at the age of nine, to the Collège de Beauvais, where he was
consistently head of his class. He left school early to follow his own course of study,
and briefly worked in the law. Here he attracted the attention of Colbert, Louis
XIV’s minister of finances and superintendent of the Royal buildings, and became
his secretary.
Rufus Norris trained at RADA and spent several years working as an actor in
Britain and Europe.
Perrault was a part of the Sun King’s court machinery for twenty years. He
wrote poetry, essays and panegyrics for the king and was elected to the Académie
Française in 1671. In 1683 Colbert died and Perrault resigned his post, dedicating
himself full-time to writing.
He initiated the notorious ‘Quarrel of the Ancients and Moderns’ with his claim
– an extremely radical one at the time – that the intellectual achievements of
seventeenth-century France were equal to, or even greater than, those of Classical
Greece and Rome. The ‘quarrel’ raged through the salons and academies of France.
Perrault brought many arguments to bear, including the idea that the homegrown
folklore of France could be the basis of a vigorous new literature, free from
antiquated rules.
In the 1690s Perrault composed several poems and tales using folklore themes. He
produced three tales in verse, then a prose version of The Sleeping Beauty, and finally
in 1697 his famous collection Histoires ou Contes du Temps Passé avec des Moralités,
or Contes de ma Mère l’Oye (or Mother Goose Tales).
Perrault died in Paris in 1703 at the age of 75. Within a few years his work had
been translated into many different languages around Europe and generations of
children became familiar with the tales of Little Red Riding Hood, Bluebeard,
Cinderella and Mother Goose amongst many others – including, of course,
Sleeping Beauty.
As a director, his most recent credits include the world premiere of Market Boy by
David Eldridge at the National Theatre; Tin Tin, co-written with David Greig, at
the Barbican; Blood Wedding, starring Gael Garcia Bernal, at the Almeida Theatre;
and Festen, based on the film by Thomas Vinterberg and adapted by David
Eldridge, at the Almeida, West End and Broadway. For Festen, he won Best Director
in the Critics’ Circle Awards 2005, and was nominated Best Director in the Olivier
Awards 2005 and the Evening Standard Awards 2004.
His other credits include Sleeping Beauty at the Young Vic and Barbican; Peribanez
at the Young Vic; Dirty Butterfly and Two Women at the Soho Theatre; Small
Change at the Sheffield Crucible (winner of the Peter Brook Empty Space Award
for Crucible Studio Season 2002); Workers Writes, Under The Blue Sky, About The
Boy, Clubbed Out and Where The Devils Dwell at the Royal Court Upstairs; Afore
Night Come by David Rudkin at the Young Vic (for which he won Outstanding
Newcomer at the Evening Standard Awards 2001); Mish Alla Ruman at Al Kasaba,
Ramallah; My Dad’s Cornershop for the Birmingham Rep; Strike Gently, People
Downstairs and The Art Of Random Whistling at the Young Vic Studio (Wink);
Small Craft Warnings at the Pleasance, London;The Measles at the Gate; Waking
Beauty, Rosa Carnivora and The Lizzie Play for Theatr Clwyd and Arts Threshold/
Touring (Wink) and The Tempest by Shakespeare for Arts Threshold.
His opera and music theatre credits include Tall Stories by Gough/Chew for
Vienna / BAC / Touring / USA; Sea Tongue by Gough/Chew for Huddersfield
Contemporary Music Festival; While I Was Waiting by Orlando Gough for
Limelight / BAC (ENO Studio/Wink) and Shawna and Ron’s Half Moon by Eva
Salzman and Pierrot by Orlando Gough, both for ENO (Baylis)
Rufus is Co-Founder and Artistic Director of the London-based theatre company
Wink, and an Associate Director of the Young Vic Theatre.
THE HISTORY OF THE FAIRY TALE
Stories about fairies, enchantments and transformations have been around
since before recorded history in the form of folk tales and oral culture.
Writers of fairy tales have drawn from this tradition and their stories have in
turn been reinterpreted by those that followed.
The myth, Cupid and Psyche, included by Apuleius in his Metamorphoses in
the second century AD is considered to be the first literary fairy tale, very
similar in nature to Beauty and the Beast. Several collections of fantastic
stories appear in Asia and the Middle East over the next thousand years,
including the first known literary version of Cinderella in China.
Basile’s Il Pentamerone, written in 1634-6 in Italy, includes the source of
many European fairy tales, among them Perrault’s Sleeping Beauty. Basile’s
stories were characterised by a racy humour and down-to-earth descriptions
of everyday life.
The expression ‘fairy tale’ first appears in seventeenth century France. Several
years before Perrault published his stories, an immensely popular fairy-tale
movement flourished among the salons, hosted by several nonconformist,
upper-class women. Madame d’Aulnoy was a major force behind the fairy
tale vogue, and the first to publish her salon tales in 1690 under the title
Contes de Fées (or fairy stories). The stories of Perrault and the salonnières
made their way to England in several popular translations.
Up to this point, fairy stories were written for an adult audience, but during
the eighteenth century several works for children were published. Madame
Leprince de Beaumont, who was working as a governess in England,
borrowed liberally from earlier writers, particularly a version of Beauty and
the Beast. She wrote tales that were moral and instructive for magazines
published specifically for young people. The next century saw an enormous
increase in books for children. Chief among these would be the Grimms’
Childhood and Household Tales and Hans Christian Andersen’s Fairy Tales Told
for Children.
In 1937 Walt Disney’s first feature length animated film, Snow White and
the Seven Dwarfs, was released. The film was a huge success and led to the
creation of several more Disney fairy tale adaptations, including Cinderella in
1950, Sleeping Beauty in 1959, and many more afterwards.
FAIRIES
The word ‘fairy’ comes from ‘fata’ or the Fates, three old women in Greek
mythology who spin, measure and cut the thread of life. They appear at the
birth of every child and allot to it a length of life, plus good or bad fortune.
They are a recognisable source for the figure of the fairy godmother and the
fairies who attend the christening in many versions of Sleeping Beauty.
In this part of the world, there is a theory that fairies are the folk memories of
Celtic gods and goddesses abandoned with the introduction of Christianity.
Many fairy stories are connected with pre-Celtic monuments and burial sites
and the Hollow Hills of fairy land are often identified as Neolithic burial
mounds. This gives rise to another belief about a connection between fairies
and the Host of the Dead. Fairy land is said to be under the earth like the
land of the dead, and the story of Persephone being doomed to stay in Hades
forever after eating a few pomegranate seeds is echoed in many stories about
mortals who, upon eating fairy food, are never allowed to leave for home.
In the romances of the 12th century, fairies or fees were human-sized and
terrifying in their power. They were not always seen as supernatural, but were
mortals who knew magic or herb lore.
The Victorians and Edwardians saw a strong link between childhood and
fairies, and as a result fairies became pretty, innocent and fragile creatures.
This image was strengthened by Disney, especially in its version of Tinkerbell
in Peter Pan. This tiny, blond, winged creature with a magic wand is a far cry
from her all-powerful, amoral, ancestors the Fates.
WICKED COLOURING
RÓISÍN MCBRINN
DIRECTOR
PAUL WILLS
DESIGNER
TINA MacHUGH
LIGHTING DESIGNER
DENIS CLOHESSY
MUSIC / SOUND
Róisín’s directing credits include
The Field (Tricycle, London),
Whereabouts (Fishamble); Tejas
Verdes (b*spoke), A Thousand Yards
(Southwark Playhouse, London),
References To Salvador Dali Make
Me Hot and Gompers (Arcola
Theatre, London); Sonnets For An
Old Century (Project); A Is For Axe
(Bewleys and Irish national tour);
and Giants Have Us In Their Books
(International, Dublin).
As assistant director, her credits
include Smaller (West End/UK
tour); Shoot the Crow and Fuddy
Meers (West End); and The Quare
Fellow (UK tour).
As Resident Assistant Director at
the Donmar Warehouse, theatre
includes After Miss Julie, Hotel
in Amsterdam, Pacific Overtures,
Caligula and Accidental Death of an
Anarchist.
She was awarded the Jerwood Young
Vic Young Directors’ Award in
2004.
Róisín has directed readings/
workshops for the National Theatre
Studio, Soho Theatre, the Abbey
and the Donmar Warehouse.
Paul’s designs include A Number
(Sheffield Crucible/Chichester Festival);
Sweetness and Badness (Welsh National
Opera ‘Max’ project); Mother Courage
(English Touring Theatre); The Cut
(Donmar Warehouse & tour); Tracy
Beaker Gets Real (Nottingham Playhouse
& tour); The Field (Tricycle Theatre);
Mammals (Bush Theatre & tour);
Invisible Mountains (National Theatre
Education Tour); Breathing Corpses
(Royal Court Theatre); Gladiator Games
(Sheffield Crucible/Theatre Royal
Stratford East); Blue/Orange, Batina
and the Moon (Sheffield Crucible);
A Kind of Alaska, A Slight Ache and
Precisely (Gate Theatre, Notting Hill);
A Streetcar Named Desire (Clwyd Theatr
Cymru); A Thousand Yards (Southwark
Playhouse); Prometheus Bound (Sound
Venue); Oliver! (Hereford); References to
Salvador Dali Make Me Hot and Gompers
(Arcola Theatre); Car Thieves (The Door,
Birmingham Rep); The School of Night
(The Other Place, Royal Shakespeare
Company) and, as associate designer,
Guys and Dolls (West End).
He will be designing A Model Girl for
Greenwich Theatre in the New Year.
Tina’s most recent work in Ireland
includes The Alice Trilogy (Abbey
Theatre); King Ubu (Fineswine /
Galway Arts Festival); La Bohème
and A Streetcar Named Desire (Opera
Ireland) and Apollo and Hyacinthus
(Opera Theatre Company & Classical
Opera), as well as many other
productions for the Abbey, the Gate,
Rough Magic and Druid theatre
companies.
Her theatre work in the UK includes
productions for the National Theatre,
the Royal Shakespeare Company,
the Royal Exchange and the Royal
Court, as well as many regional
and West End theatres and with
Olivier Award nominations for
her work on Rutherford and Sons
(National Theatre) and Ghosts (Royal
Shakespeare Company), and an Irish
Times nomination for The Book of
Evidence (Kilkenny Arts Festival /
Gate Theatre).
Her many productions in opera
include Idomeneo with Placido
Domingo for LA Opera and she has
also worked extensively in dance,
both contemporary and classical, in
the UK and internationally.
Denis has composed music and sound
for more than 50 theatre and dance
productions, including most recently
Dream of Autumn (Rough Magic),
Festen (Gate Theatre), Underneath the
Lintel (Landmark), Behindtheeyeliesbone
(Myriad Dance), Branwen (North
Wales Stage/Project Arts Centre), Hang
Gliding (BDNC) and Last Call (TEAM
Theatre). His previous engagements
include work for Titus Andronicus,
Shutter, La Musica and Fando and Lis
(Siren Productions); Rashomon, The
Dream of a Summer’s Day and The
Crock of Gold (Storytellers); King Ubu
(Fineswine/Galway Arts Festival);
Hysteria, Family Stories and Tejas Verdes
(b*spoke); Operation Easter (Calypso),
Devotion and How High Is Up (TEAM
theatre); Winter and The System (RAW);
and A Splendid Mess (Locus). Denis has
also composed for a number of short
films, including the European Academy
Award-winning Undressing my Mother
and Useless Dog (Venom Films), for
which he won Best Soundtrack at the
2005 European Short Film Biennale.
CAST
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Goody
Three Princes
Ogre
King / Ogress
Beauty
Queen
Minstrel
Table-Slave
Merry Minstrel
Barbara Brennan
Rory Nolan
Karl Shiels
Mal Whyte
Kelly Shatter
Aisling O’Neill
Phelim Drew
Fergal McElherron
Mary Murray
Thorns / Courtiers / Slaves Sarah Brennan
Phelim Drew
Fergal McElherron
Mary Murray
Aisling O’Neill
Director
Designer
Lighting Designer
Choreographer
Music / Sound
Musical Director
Róisín McBrinn
Paul Wills
Tina MacHugh
Rebecca Walter
Denis Clohessy
Cathal Synnott
Production Manager
Technical Manager
Production Co-ordinator
Stage Director
ASM
Wardrobe Supervisor
Des Kenny
Tim Buckley
Daniel Persse
Donna Leonard
Aine Beamish
Mary Sheridan
Set Construction
Scenic Artist
Props Maker
Paul Manning
Vincent Bell
Neil Gidley
Producers
Una Carmody
Anne Clarke
Colin Baird
Rachel Horan
Aisling Phelan
Christine Monk/Zoetrope
Gareth Jones
Patrick Redmond
Associate Producer
Marketing Manager
Marketing Officer
Publicity
Graphic Design
Photography
Landmark Productions and The Helix are grateful to
CityJet and Q102 for their assistance with this production.
The performance runs for just under two hours,
including a 15-minute interval.
THANK YOU
Landmark Productions and The Helix are grateful for the
support of many people and organisations, including the
following :
Botanic Electrical Wholesalers Ltd, Belinda Cameron,
Sarah Chadwick, Ali Cilantrulsi, Michael Cunningham,
Paula Dunne, Gate Theatre, Clare Grennan, Ken Kelly,
Lesley Magill, Anne McNulty, Nick Marston, Catherine and
Michael McBrinn, Patricia McDevitt, Kevin Mullen,
Daiwyn Naidoo, NCAD, Clara Purcell, Caoimhe Regan,
Annie Ryan, Mary Ryan, Mark Sadler and all at Q102,
Second Age Theatre Company, Donal Shiels, Neil Watkins
and Jonathan White.
Rufus Norris photo © Ivan Kyncl
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REBECCA WALTER
CHOREOGRAPHER
CATHAL SYNNOTT
MUSICAL DIRECTOR
Rebecca Walter is a freelance dancer
and choreographer and the Artistic
Director of Catapult Dance Co.
Her choreographic work has toured
extensively to venues throughout
Ireland including the Project Arts
Centre, Belfast Festival at Queens,
Institute of Choreography and Dance
and Cork Midsummer Festival, among
others. She has also created a number
of site-specific performances, most
notably Everybody Into the Pool on
the rooftop of Project Arts Centre,
Dublin (Jayne Snow Award Dublin
Fringe 2004) and Wash-O-Rama for
the All-American Launderette in
Dublin (Sexiest Show Dublin Fringe
Award 2001). In addition to her
choreography for Catapult, Rebecca has
created work for Barnstorm Theatre,
University of Limerick M.A. in Dance
students, Dublin Youth Contemporary
Dance Co. and Inishowen Carnival
Group. Rebecca has performed with
Daghda Dance, Loose Canon Theatre,
Corp Feasa, ManDance, Opera Ireland,
FluxusDance and New Balance Dance
Co. She holds a B.F.A. from S.U.N.Y.
Purchase (USA) and received additional
training at the National Institute of the
Arts, Taipei (Taiwan).
Cathal Synnott lives and works in
Dublin as a singer, composer and
keyboard player. He was musical
director of Riverdance on Broadway
(New York 2000); Marie Jones’
Weddin’s, Wee’ns and Wakes and
Improbable Frequency by Arthur
Riordan (Dublin Theatre Festival
2004, Abbey Theatre 2005), The
Nativity and What the Donkey Saw
(Lyric 2004/2005) and The Liverpool
Boat by Marie Jones and Maurice
Bessman (Belfast Festival at Queens
2006). He has composed music for
Classic Stage Ireland’s production of
As You Like It, A Very Weird Manor by
Marie Jones for the Lyric Theatre in
Belfast and The Taming of the Shrew
for Rough Magic. As a singer he has
worked with The National Chamber
Choir, Anúna, Vanessa Mae, Placido
Domingo and Erasure, and was tenor
soloist in Crash Ensemble’s Irish
premiere of Van Gogh, an opera by
Michael Gordon.
BARBARA BRENNAN GOODY
SARAH BRENNAN ENSEMBLE
Barbara’s most recent appearance was as Else
in Selina Cartmell’s acclaimed production
of Festen at the Gate Theatre. Other credits
at the Gate include The Beckett Centenary
Festival 2006, A Christmas Carol, Pygmalion,
The Eccentricities of a Nightingale, Pride and
Prejudice (which also played the Spoleto
Festival in Charleston, SC), The Heiress (Best
Actress Award 1979), A Streetcar Named
Desire (Best Supporting Actress 1981),
Hedda Gabler (Best Actress nomination
1984) and Herodias in Steven Berkoff’s
production of Salomé, which also played the
Edinburgh Festival and Charleston. Barbara
played Mrs Kilbride in Dominic Cooke’s
production of Marina Carr’s By the Bog of
Cats, which played at the Wyndhams Theatre
in London and starred Holly Hunter.
Credits at the Abbey include Lady Bracknell
in The Importance of Being Earnest, The Lilly
Lally Show by Hugh Leonard, Mrs Cregan
in The Colleen Bawn and Cora in The Iceman
Cometh, which starred Brian Dennehy.
Other theatre credits include Sally Bowles in
Cabaret, Amanda in The Glass Menagerie and
Lady Wishfort in The Way of the World.
Film and television includes The Clinic, Hell
for Leather, No Tears, Veronica Guerin and
Bloom.
Sarah graduated with a B.A. in
Drama and Theatre Studies from
the Samuel Beckett School of
Drama, Trinity College Dublin.
She also trained with Ann
Kavanagh’s Young Peoples Theatre.
Theatre credits include Tejas Verdes
and The Drunkard (b*spoke); The
Life of Galileo (Rough Magic);
A Slice of Saturday Night (Lane
Productions); The Bus and Kevin’s
Story (Barnstorm); A View From the
Bridge and Brighton Beach Memoirs
(Cloud 9) and The Trial (Civic
Theatre).
Sarah co-founded x-bel-air Theatre
Company in 2001 and appeared
in Giants Have Us in Their Books
(Dublin Fringe Festival 2001) and
Sonnets for an Old Century (Dublin
Fringe Festival 2002).
Film and television credits include
Upwardly Mobile (RTE); Saol
Eile, Scéal Eile (TG4); Testament
and Bird of Paradise. Her radio
credits include The Dead School,
Debutantes, Family Secrets, The
Anniversary Orchid and Surprise
(RTE Radio 1).
PHELIM DREW
ENSEMBLE / MINSTREL
FERGAL McELHERRON
ENSEMBLE / TABLE SLAVE
Phelim has been acting since
graduating from the Gaiety School
of Acting in 1988. He has appeared
in numerous productions at the
Abbey and Gate Theatres, and with
Rough Magic, Druid, Loose Canon
and Calypso, among others. Recent
theatre credits include Two Rooms
by Lee Blessing (Andrews Lane) for
the Focus, Operation Easter by Donal
O’Kelly in Kilmainham Gaol for
Calypso and, prior to that, A Doll’s
House and The Shaughraun at the
Abbey.
His film and television credits include
My Left Foot, The Commitments,
Angela’s Ashes, Studs, Sharpe’s Battle,
The Ambassador and King Arthur.
Phelim has also appeared in
numerous radio plays for RTE.
Fergal’s theatre credits include A Whistle
in the Dark (Royal Exchange Theatre and
Tricycle); How Many Miles to Babylon
(Second Age); Dublin by Lamplight (Corn
Exchange to the Edinburgh Fringe ‘05);
Savoy (Peacock Theatre); Olga (Rough
Magic); Candide – for which he won Best
Supporting Actor in the Irish Times/ESB
Theatre Awards ’02 and Best Actor in the
Dublin Fringe Festival ’02 –
and Dr Ledbetter’s Experiment (both for
The Performance Corporation); Mojo
Mickybo (Kabosh – for which he received
a nomination for Best Actor at both the
Irish Times/EBS Theatre Awards and
Dublin Fringe Awards ’99); Mixing It On
the Mountain (Calypso); Trainspotting
(Common Currency); Iphigenia at Aulis
and The House (Abbey Theatre); and Shoot
the Crow (Druid).
His film & TV credits include The
Anarchic Hand Affair (Rocket Pictures);
The Clinic (RTE); Holy Cross (BBC);
Omagh (Channel 4); H3 (Stanbury
Films); Eureka (Euphoria Films); and The
Secret of Roan Inish (Skerry Movies).
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Mary’s work in theatre includes the The
Alice Trilogy with the Abbey Theatre;
Macbeth with Second Age; Operation Easter
with Calypso Productions; Family Stories
for b*spoke Theatre Company; Sister with
Vision Productions; Oh When The Hoops
with Liberty Productions; Playing Politics
as part of the Dublin Theatre Festival;
Knocknashee with Tall Tales; The Grapes Of
Wrath with Storytellers Theatre Company;
On Raftery’s Hill with Druid and at the
Royal Court, London; and Give Us A Break
and The Shadow Of A Gunman, both for
Tobarnarun.
Her film and television credits include
Bitterness, What If?, King Of Nothing, Adam
And Paul, W.C., The Magdalene Sisters, On
The Edge, Accelerator, Crushproof, A Great
Party, Recoil, The Marriage Of Strongbow
and Aoife, The Very Stuff, ER, Fair City,
Love Is The Drug, The Big Bow Wow, The
Ambassador and Random Passage. Mary has
also worked with RTE radio on Lennon’s
Guitar.
Mary is a multi award-winning singer and
the director of Visions Drama School.
Rory trained at the Gaiety School of
Acting, graduating in 2003. He was
last seen at the Dublin Fringe Festival
in Mangiare Theatre Company’s
production of The Evils of Tobacco
and The Bear, for which he was
nominated Best Male Performer at
the Fringe Festival Awards. Previous
theatre credits include Dr Ledbetter’s
Experiment (The Performance
Corporation) at the Edinburgh
Fringe Festival and Kilkenny Arts
Festival, King Ubu (Fineswine /
Galway Arts Festival), Improbable
Frequency (Rough Magic) at the
Abbey, as part of the Dublin Theatre
Festival and Kontakt Festival Poland,
The Taming of the Shrew (Rough
Magic), A Christmas Carol (The
Gate), Liliom (Rough Magic – Seeds
2), The Yokohama Delegation (The
Performance Corporation), Family
Stories (b*spoke), The Wiremen
(Gaiety), King Lear (Second Age),
Heavenly Bodies (Peacock), The
Drunkard (b*spoke & Galway Arts
Festival), To Be Confirmed (Project)
and Nocturne (Cardboardbox).
KELLY SHATTER BEAUTY
AISLING O’NEILL
ENSEMBLE / QUEEN
Aisling was introduced to the world of
acting at the tender age of 6 months in
the long-running soap The Riordans. Her
next acting role was as the Boy in her
late father Chris O’Neill’s production of
Waiting for Godot at the Focus Theatre.
Other theatre credits include Dancing
at Lughnasa (Gate Theatre), Di Di’s
Big Day (Andrews Lane Theatre), The
Shadow of a Gunman (Irish Classical
Theatre, NY), The Cripple of Inishmaan
(Public Theatre, New York), The Deal
(Bewley’s Cafe Theatre), When Moses
Met Marconi (Barnstorm), Lovers
(Irish Classical/Playquest Theatre,
New York), The Playboy of the Western
World (Playwrights and Actors), The
Sea (Andrews Lane Theatre), Peg O’ My
Heart (Bronx Theatre, New York), Exiles
of Ireland (Kavinoky Theatre, Buffalo)
and The Mark (Project Arts Centre).
Her film and television credits include
Accelerator, The Ambassador, Blind Flight,
Goldfish Memory and Finbar’s Class.
Aisling is best known for playing the
character Carol in Fair City.
Kelly has recently graduated with
a Masters in Performance from the
Central School of Speech and Drama,
London. Her undergraduate training
was at the Conservatory of Music and
Drama, DIT, Dublin. After graduating
she worked with Double Edge physical
theatre company in Boston, USA.
Some of her favourite roles so far
include Runt in Disco Pigs; Blanche
in Between the Lanes; Cassandra
in Agamemnon; Eliza Doolittle in
Pygmalion and Phoebe in As You Like It.
Her television credits include the
character Sinead in TG4’s short Cén
Fáth?, for which she received Best
Actress in the CIAK Film Festival, Italy.
She recently finished working as
Assistant Director on Everyday for Corn
Exchange.
KARL SHIELS OGRE
Karl trained at the Gaiety School of Acting.
Theatre credits include Howie the Rookie,
Beauty in a Broken Place, Henry IV, Barbaric
Comedies, At Swim-Two-Birds and Twenty
Grand (Abbey and Peacock), Oedipus Loves
You (Smock Alley), Duck (Royal Court),
Salome (Gate Theatre) and Comedians
(Dublin Theatre Festival – for which he won
Best Actor).
Film and television credits include Batman
Begins, Intermission, Spin the Bottle, Capital
Letters (for which he received a Best Actor
IFTA nomination 2004), Veronica Guerin
and Meeting Che Guevara.
Directing credits include Conversation with
a Cupboard Man, Butterflies, Breakfast with
Versace, Within 24hrs, Another 24hrs, Within
24hrs of Dance, Ten, Ladies and Gents and
Adrenalin, all with Semper Fi (Ireland).
MAL WHYTE
KING / OGRESS
Originally from London, Mal
has lived in Ireland since the
early seventies. His theatre work
includes Wallflowering (Tall
Tales); Dead Funny, Our Country’s
Good and Lady Windermere’s
Fan (Rough Magic); Shooting
Gallery (Bedrock); Faith Healer
(Tinderbox); Jack Ketch’s Gallows
Jig (Pigsback/Fishamble), The
Caretaker (Moving Parts); The
Shaughraun, The Colleen Bawn, The
Silver Tassie and The Devil’s Disciple
(Abbey); A Christmas Carol, The
School for Scandal and As You Like
It (Gate). He has also appeared
in The Plough and the Stars in
America, in Othello and Twelfth
Night in Japan and in many other
productions all over Ireland.
Film and television work includes
Northanger Abbey, Breakfast on
Pluto, Once, Man about Dog,
Chronoperambulator, Braveheart,
Michael Collins, In the Name of the
Father, They Also Serve, Father Ted,
The Hanging Gale, The Governor,
Fair City and Glenroe.
COLIN BAIRD
ASSOCIATE PRODUCER
DONNA LEONARD
STAGE DIRECTOR
AINE BEAMISH
ASM
MARY SHERIDAN
WARDROBE SUPERVISOR
Since graduating, Colin’s professional
career has centred around international
theatre programming and producing. He
has worked at London’s ‘art powerhouse’,
the Barbican Centre, as part of the
team who brought BITE (Barbican
International Theatre Event). Staying in
London, he moved to the UK’s premier
dance-house Sadler’s Wells, where he
worked in programming its West End
venue, Peacock Theatre, Sadler’s Wells. He
then moved to Dublin, where he became
Producer at the SFX City Theatre/The
Machine Theatre Company (2002-2004).
As a freelance producer/programmer,
Colin has worked as the Interim Artistic
Programmer of The Palace Theatre in
Kilmarnock, which consists of a 900seat concert hall, 500-seat theatre and
120-seat studio space, and has worked
with Fishamble, Something Different
Theatre Co., Culturama (London) and
Opera Theatre Company. Colin has
previously worked as Associate Producer
with Landmark Productions on The Secret
Garden (a co-production with The Helix)
and Underneath the Lintel.
Donna has worked extensively as
a Stage Director in theatre both
nationally and internationally.
For the Gate Theatre, credits include
The Beckett Festival 2006, Faith
Healer, Betrayal, Lady Windermere’s
Fan, The Home Place and Shining
City. For the Gaiety, her credits
include Jack and the Beanstalk,
Aladdin and Des & Rosie On the
Luas. Other credits include Singing
in the Rain (Olympia), Shirley
Valentine (national tour), The Field
(Gaiety & national tour) 12 Angry
Men (national tour), Alone It Stands
(national tour & Olympia), Jesus
Christ Superstar (Really Useful – UK
national tour), The Matchmaker
(Dublin & national tour),
Mindgame (Vaudeville Theatre,
London), Jesus Christ Superstar (UK
tour, Dublin and Germany), EAST
(UK and Italy tour) and An Ideal
Husband (West End, London)
Donna has also worked extensively
as a sound operator and has worked
as a publicity/tour manager for
British pop bands touring Ireland.
Aine’s recent theatre
work includes The
Pinter Festival, A
View from the Bridge,
Poor Beast in the Rain
and Shining City
(Gate Theatre), The
Gist of it (Fishamble),
Beckett’s Ghosts
(Bedrock) and
Mother Teresa is Dead
(Focus Theatre).
Other credits include
production work for
the Dublin Theatre
Festival, Dublin
Fringe Festival, St.
Patrick’s Festival and
the Festival of World
Cultures.
Aine has studied
in Ireland and the
U.K. and has a BA in
Digital Media. This is
her first production
with Landmark
Productions and The
Helix.
Mary has worked in various
production capacities,
including Wigs Assistant,
Costume Supervisor and
Assistant Stage Manager.
Theatre credits include
Rigoletto, Orfeo Ed Euridice,
The Marriage of Figaro and
Faust (Opera Ireland) and
Dido and Aeneas (Royal
Academy of Music), King
Lear (Second Age), I Keano
(Lane Productions), Laurel
and Hardy (Olympia Theatre),
Shooting Gallery (Bedrock),
2.B.H.I.V.O.Y. (Raising
Issues), Titus Andronicus (Siren
Productions) and The Gist Of
It (Fishamble).
Mary is currently a student of
Technical Theatre in Inchicore
College of Further Education.
DES KENNY
PRODUCTION
MANAGER
Des has worked
extensively as a
Production Manager
throughout Ireland.
Recent credits include
Everyday, Dublin
by Lamplight and
Mud (The Corn
Exchange),Tadhg
Stray Wandered In,
Monged and The Gist
Of It (Fishamble),
Far Away and Urban
Ghosts (Bedrock),
Alone it Stands (Lane
Productions and
Yew Tree Theatre
Company), Triple
Espresso (Lane
Productions), Macbeth
and How Many Miles
To Babylon (Second Age
Theatre Company).
AMAZING MAZE