MALAPROP
MALAPROP
Associate Company
Formed in 2015, MALAPROP Theatre is an award-winning collective of seven theatre-makers. Their work is bold, playful, and genre-spanning. MALAPROP aims to challenge, delight, and speak to the world we live in (even when imagining different ones).
Work to date includes LOVE+ (2015), BlackCatfishMusketeer (2016), JERICHO (2017), Everything Not Saved (theatre show, 2017 and short film, 2018), GULP (video, 2020), and Before You Say Anything (2020).
The company has won the Spirit of Fringe Award (Dublin Fringe 2015), the Georganne Aldrich Heller Award (Dublin Fringe 2017), Melbourne Fringe Award 2018, and the Romilly Walton Masters Award 2018.
MALAPROP has performed their work in Ireland, the UK, France, China and Australia.
Since their first Fringe appearance just two years ago, the riveting company MALAPROP have been asking some of the most salient questions about this jittery world of ours while discovering engaging new ways to explore them. — Peter Crawley, The Irish Times A company of real ambition. One which is using theatrical form to grapple with the complexities of a world where the ground is constantly shifting beneath our feet and where what we believe can be recalibrated not just on a daily basis but minute by minute. — Lyn Gardner, Stagedoor ★★★★★
A company that will go far — The British Theatre Guide
web:link
www.malaproptheatre.com
image:credits
1. Aoife Spratt in BlackCatfishMusketeer by Dylan Coburn Gray. Photo credit: Molly O’Cathain (2016)
2. Ghaliah Conroy and Maeve O’Mahony in Before You Say Anything by MALAPROP. Photo Credit: Simon Lazewski (2020)
3. Breffni Holahan and Maeve O’Mahony in LOVE+ by MALAPROP. Photo Credit: Carla Rogers (2015)
Producer:
Dead Centre
Dead Centre
Associate Company
Dead Centre founded by Bush Moukarzel and Ben Kidd in Dublin in 2012 has gained a reputation as one of Europe’s most innovative and exciting young theatre companies.
Work includes: LIPPY (2013), winner of the Irish Times Theatre Award for Best Production, a Fringe First, a Herald Angel, a Total Theatre Award and two OBIE Awards. It has toured around the world, including to the Young Vic in London, Schaubühne, Berlin and Traverse, Edinburgh; Chekhov’s First Play (2015) which has toured to destinations including Schaubühne, Berlin, Brisbane Festival, Helsinki Festival, Battersea Arts Festival (London), and many more; Hamnet (2017) has toured throughout the world, including BAM in New York, Hong Kong Festival, and the Southbank Centre, London; Beckett’s Room, (2019) has toured to Warwick Arts Centre, Theatre de Liège and to Teatro Piccollo, Milan; To Be a Machine (Version 1.0) was created in 2020 during the pandemic, and was streamed live to audiences around the world. It has since been streamed to festivals in Liège, Hong Kong and Paris. A German-language version, Die Maschine in Mir, was created for Burgtheater, Vienna. The company has also created work with the ensembles at some of Europe’s major theatres, including Shakespeare’s Last Play at Schaubühne, Berlin (2018), The Interpretation of Dreams (2020) and Alles, was der Fall ist (2021) at Burgtheater, Vienna, and The Silence (2021) at Göteborgs Stadsteater. In 2021 they directed their first opera, Bählamms Fest at Ruhrtriennale, Germany. Their latest work Good Sex premiered at Dublin Theatre Festival 2022. They will be creating new work in 2023 for Burgtheater and Deutsche Oper, Berlin.
web:link
www.deadcentre.org
image:credits
1. Dan Reardon in Lippy by Dead Centre. Photo credit: Jeremy Abrahams (2013)
2. Chekhov’s First Play by Dead Centre. Photo Credit: José Miguel Jiménez (2015)
3. Jack Gleeson in To Be A Machine (Version 1.0) by Dead Centre. Photo Credit: Ste Murray (2020)
★★★★★
Raw, unsettling, seductive, provocative and very, very funny… turns the recent Covid past into an urgent interrogation of both our bodies and the nature of theatrical illusion. — The Irish Times (Good Sex)
★★★★★
Like nothing else you’ll see — The Irish Times (Lippy)
★★★★
In Dead Centre’s wildly ambitious production, there is meaning in the magic. — The Irish Times (Beckett’s Room)
Producer:
Brokentalkers
Brokentalkers
Associate Company
Brokentalkers are a multi-award winning Dublin based theatre company, led by Co-Artistic Directors Feidlim Cannon and Gary Keegan with Creative Producer Rachel Bergin.
Brokentalkers was founded in 2001 by Cannon and Keegan after graduating from De Montfort University in Leicester. For over a decade Brokentalkers have been making formally ambitious work that defies categorization and have built a reputation as one of Ireland’s most innovative and original theatre companies.
Their working method is founded on a collaborative process that draws on the skills and experiences of a large and diverse group of contributors from different disciplines and backgrounds. Some are professional artists, performers, designers and writers and others are people who do not usually work in the theatre but who brings an authenticity to the work that is compelling.
They make work that responds to the contemporary world, using elements such as original writing, dance, classic texts, film, interviews, found materials and music to represent that world in performance.
★★★★★
A stunning dissection of patriarchy, privilege and performance in a forceful work about sanctified male writers – The List
★★★★★
Inspired interrogation of ‘the great male artist – The Stage
Brokentalkers, one of the country’s most fearless and path breaking theatre companies — The Irish Times
Their recent work includes The Boy Who Never Was (Dublin Theatre Festival 2022), MASTERCLASS (Winner: The Scotsman Fringe First Award 2022, Premiered at Project Arts Centre as part of Dublin Fringe Festival 2021), The Examination (Premiered at Project Arts Centre 2019, followed by a run in both Edinburgh and Dublin Fringe Festival 2019; Winner of Best Production & Best Soundscape Irish Times Theatre Awards 2020, Winner of Best Production and Best Performer, Dublin Fringe Festival 2019), Woman Undone (Premiered at Project Arts Centre & Mermaid Arts Centre 2018, followed by National Tour 2019 & 2020), The Circus Animals’ Desertion (Dublin Theatre Festival 2016), This Beach (Munich Kammerspiele, Dublin Fringe Festival 2016, followed by National Tour 2017), Have I No Mouth (Dublin Fringe Festival 2012, followed by National & International Tour; winner of Total Theatre Award, Edinburgh 2013) and The Blue Boy (Grand Prix winner, Kontakt Festival, Torun, Poland, 2014).
To date Brokentalkers have presented their work in Australia, Belgium, Canada, England, Finland, France, Germany, Iceland, Italy, Netherlands, Norway, Poland, Portugal, Romania, Russia, Scotland, Spain, Sweden, New Zealand and the USA.
Brokentalkers are Project Artists, an initiative of Project Arts Centre.
Brokentalkers are Associate Artists field:arts, Dublin
Brokentalkers are Associate Artists LOKAL Performing Arts, Reykjavik.
Gentle and forlorn, angry and yearning. — The New York Times (Have I No Mouth?) Almost unbearable to watch … devastating theatre — Lyn Gardner, The Guardian (The Blue Boy)
web:link
www.brokentalkers.ie
image:credits
1. Martin McCann, Saara Hurme and Deirdre Griffin in The Circus Animals’ Desertion by Feidlim Cannon and Gary Keegan. Photo Credit: Futoshi Sakauchi (2016)
2. Willie White in The Examination by Gary Keegan and Feidlim Cannon. Photo credit: Luca Trufferelli (2019)
3. Have I No Mouth by Feidlim Cannon and Gary Keegan. Photo credit: Ilan Bachrach (2014)
Producer:
ANU
ANU
Associate Company
Established in April 2009, ANU is led by Theatre Director and film-maker Louise Lowe, Visual Artist Owen Boss, Creative Producer Lynnette Moran, and Producer Matthew Smyth.
Pioneering a hybrid of art forms that places the audience at the centre of their practice, together they have created 39 seminal works, including public art commissions, gallery installations and museum interpretations, creating a brand that is gaining worldwide momentum. Building a global reputation for creating transformative experiences in unusual locations, the company continues to challenge theatrical conventions by blurring the lines between immersive and site specific practice. ANU places the audience at the very centre of the experience to create autonomous and meaningful exchanges with them. Their aesthetic represents the independent and the experimental, creating a new kind of multi- disciplinary model – a daring new hybrid art at the forefront of Ireland’s cultural landscape. Their studio enquiry, led by multi-disciplined artists, forensically builds to spatial immersion and finally to direct communion and engagement with viewers.
★★★★★
ANU are responsible for the most searing and provocative works of the past decade and delivered some of the most ambitious and thrillingly intimate theatre in living memory — Peter Crawley, The Irish Times
★★★★★
Anu Productions bring audiences into private spaces for intimate confrontations with the dark corners of history. Their work manages to be both abrasive and beautiful. The Monto Cycle may be the most significant series of works the city has witnessed since the emergence of Brian Friel and Tom Murphy. – The Independent
A rare thing, a genuinely site-specific, scorching production. My highlight of the Dublin Theatre Festival — Lyn Gardner, The Guardian
As a company they are constantly exploring new genres and formats. Their productions are epic performances in large scale sites, but their practice stretches beyond this to encompass new technologies such as Radio frequency identification that uses the mise-en-scene of real spaces as its backdrop. On top of this, their enrichment programme transforms community settings as cultural spaces of inquiry.
ANU has played to over half a million people at home and abroad across 10 years, having produced over 40 shows in that space of time, and winning 3 audience choice awards, 2 special judges awards, 5 Best Production Awards, and numerous nominations in Irish and UK Theatre award ceremonies.
Their most recent 2020 projects include CANARIES (commissioned by Dublin Port) and THE PARTY TO END ALL PARTIES (commissioned by Dublin Theatre Festival), the multi award nominated and critically acclaimed FAULTLINE (co-production with the Gate Theatre and the Irish Queer Archive for Dublin Theatre Festival), SCRAPEFOOT, an immersive visual art adventure for children at The Ark, THE ANVIL, a series of fifteen city wide commissions for Manchester International Festival, and BEYOND THESE ROOMS (at TATE Liverpool).
web:link
www.anuproductions.ie
image:credits
1. Nandi Bhebhe in The Party to End All Parties by ANU Productions. Photo credit: Ros Kavanagh (2020)
2. The Lost O’Casey by ANU Productions. Photo credit: Ste Murray (2018)
3. The Lost O’Casey by ANU Productions. Photo credit: Patricio Cassinoni (2018)
Producers: