Selected Press Reviews
Dawn Fleming, Diane O'Keeffee, Liz Kellor. Photo: Ken Wardrop
'CRACKED'
DEVISED BY QUARE HAWKS THEATRE COMPANY. NATIONAL TOUR 2001/2
‘DIRECTED BY LIAM HALLIGAN, THE PRODUCTION IS A STYLISH AND WONDERFULLY WROUGHT PIECE OF THEATRE. THE PLAYERS COMBINE THE BEST ASPECTS OF TELLING A STORY AND SHOWING IT TO US AS WELL. PARTICULARLY IMPORTANT TO THIS THEATRICALITY IS THE LIVE MUSICAL PERFORMANCE BY DENNIS CLOHESSY AND MARCUS COSTELLO’S STUNNING LIGHTING DESIGN. WHAT IS MOST INTERESTING ABOUT THE SHOW IS THAT IT SAYS SOMETHING ABOUT THE COMMONALITIES ACROSS CULTURES, AND INDEED CENTURIES, THAT MAKE THIS PRODUCTION EXCEPTIONALLY RELEVANT AND ENGAGING.'
SUSAN CONLEY, WHAT’S ON WHERE
‘COMBINING MUSIC AND ENERGETIC ACTING IS NEVER GOING TO BE AN EASY PROCESS BUT THE PERFORMANCES HERE ARE FIRST CLASS. THE MUSICAL ASIDES MADE SENSE WHERE A REGULAR SCRIPT WOULD UNDOUBTEDLY FAIL WITH SUCH A SUBJECT MATTER. THE MUSIC SPOKE VOLUMES IN PLACES. TO GIVE A HUMAN FACE TO THE LOST CRACKED SUCCEEDS WITH STYLE, PANACHE AND INNOVATION. A WONDERFUL PRODUCTION FROM QUARE HAWKS.'
RONAN CASEY, WESTMEATH EXAMINER
‘CRACKED IS A GREAT EXAMPLE OF HOW DEVISED WORK CAN BE OF THE HIGHEST QUALITY…WHAT MAKES THIS PIECE SO DIFFERENT ARE THE VARIABLES OF PERFORMANCE, WHERE THE GESTURE, THE VISUAL AND THE SYMBOLIC, BECOME THE DOMINANT IMPRESSIONABLE ASPECTS. IT CAPTURES THE ENNUI, THE SAVAGERY OF DETENTION, THE RAGE, THE SENSE OF SEDATION AND THE HELPLESSNESS OF THE PATIENTS.'
EAMONN JORDAN, IRISH THEATRE MAGAZINE.
DEVISED BY QUARE HAWKS THEATRE COMPANY. NATIONAL TOUR 2001/2
‘DIRECTED BY LIAM HALLIGAN, THE PRODUCTION IS A STYLISH AND WONDERFULLY WROUGHT PIECE OF THEATRE. THE PLAYERS COMBINE THE BEST ASPECTS OF TELLING A STORY AND SHOWING IT TO US AS WELL. PARTICULARLY IMPORTANT TO THIS THEATRICALITY IS THE LIVE MUSICAL PERFORMANCE BY DENNIS CLOHESSY AND MARCUS COSTELLO’S STUNNING LIGHTING DESIGN. WHAT IS MOST INTERESTING ABOUT THE SHOW IS THAT IT SAYS SOMETHING ABOUT THE COMMONALITIES ACROSS CULTURES, AND INDEED CENTURIES, THAT MAKE THIS PRODUCTION EXCEPTIONALLY RELEVANT AND ENGAGING.'
SUSAN CONLEY, WHAT’S ON WHERE
‘COMBINING MUSIC AND ENERGETIC ACTING IS NEVER GOING TO BE AN EASY PROCESS BUT THE PERFORMANCES HERE ARE FIRST CLASS. THE MUSICAL ASIDES MADE SENSE WHERE A REGULAR SCRIPT WOULD UNDOUBTEDLY FAIL WITH SUCH A SUBJECT MATTER. THE MUSIC SPOKE VOLUMES IN PLACES. TO GIVE A HUMAN FACE TO THE LOST CRACKED SUCCEEDS WITH STYLE, PANACHE AND INNOVATION. A WONDERFUL PRODUCTION FROM QUARE HAWKS.'
RONAN CASEY, WESTMEATH EXAMINER
‘CRACKED IS A GREAT EXAMPLE OF HOW DEVISED WORK CAN BE OF THE HIGHEST QUALITY…WHAT MAKES THIS PIECE SO DIFFERENT ARE THE VARIABLES OF PERFORMANCE, WHERE THE GESTURE, THE VISUAL AND THE SYMBOLIC, BECOME THE DOMINANT IMPRESSIONABLE ASPECTS. IT CAPTURES THE ENNUI, THE SAVAGERY OF DETENTION, THE RAGE, THE SENSE OF SEDATION AND THE HELPLESSNESS OF THE PATIENTS.'
EAMONN JORDAN, IRISH THEATRE MAGAZINE.
Photo by Angie Steele of Dermot Magennis and Aenne Barr.
‘HEATHER’ BY THOMAS ECCLESHARE
BEWLEY'S CAFÉ THEATRE, 2019
'THIS IS A WONDERFULLY CLEVER PIECE OF WRITING FROM ENGLISH WRITER THOMAS ECCLESHARE, A HOT-BUTTON PLAY ABOUT THE CONTEMPORARY WORLD, DELIVERED IN A SLICK AND ENTICING PACKAGE. IT IS INNOVATIVE IN FORM BUT DELIVERS ALL THE SATISFACTION OF A CONVENTIONALLY PLOTTED PAGE-TURNER. LIAM HALLIGAN HAS A FIRM GRIP ON THE COMPLEXITIES AND PACES THE SHOW PERFECTLY. AENNE BARR AND DERMOT MAGENNIS DELIVER SUPERB PERFORMANCES. KIERAN MCBRIDE’S SET HAS THAT WONDERFUL THEATRICAL VISUAL THRILL WHILE DENIS CLOHESSY’S SOUND DESIGN, HIGHLY EFFECTIVE THROUGHOUT, REACHES A FLOURISHING CLIMAX.’
KATY HAYES, THE INDEPENDENT 9/2/2019
‘ECCLESHARE’S PLAY IS THE DRAMATIC EQUIVALENT OF A RUBIX CUBE. EXPERTLY DIRECTED BY LIAM HALLIGAN, THIS PLAYFUL TWO-HANDER BEGINS WITH AN EMAIL THREAD BETWEEN A BOOK PUBLISHER, THE EXCELLENT DERMOT MAGENNIS, AND A FIRST-TIME AUTHOR, PLAYED WITH HESITANT FRAGILITY BY AENNE BARR. WITH A LUSCIOUS SOUNDSCAPE BY DENIS CLOHESSY THIS INTELLECTUALLY TICKLISH PLAY ENTERTAININGLY EXPLORES OUR READINESS TO BELIEVE WHATEVER STORY SUITS US.’
FIONA CHARLETON, THE SUNDAY TIMES 10/2/2019
‘ LIAM HALLIGAN, WHO DIRECTS THIS STAGING, SEIZES IT BY ALLOWING HIS PERFORMERS TO SLIP UNFUSSILY AND LUCIDLY BETWEEN ROLLS.
ECCLESHARE IS CERTAINLY KEEN TO PROVOKE THOUGHT: CAN THE CREATIONS OF A VILLAIN BE THEMSELVES WHOLLY INNOCENT? CONCLUDING WITH AN EXCERPT FROM THE BOOK’S FILM ADAPTATION, LACED WITH THE TECHNICAL LANGUAGE OF A SHOOTING SCRIPT (“EXT THE CAVE OF SHADOWS”) BUT ENGAGINGLY PERFORMED AS A BREATHLESS HOLLYWOOD DENOUEMENT AGAINST A TREMENDOUSLY DYNAMIC COMPOSITION BY DENIS CLOHESSY, THE PLAY ATTEMPTS ANOTHER KIND OF DOUBLING. THIS ASSURED PRODUCTION STRESSES REDEMPTION AND A DUALITY FINALLY RECONCILED BUT IT ALSO ALLOWS FOR A MORE THORNY INTERPRETATION: THAT UNDER THE AUTHOR’S SPELL, HERE IN THIS CAVE OF SHADOWS, WE SEE WHAT HEATHER WANTS US TO SEE. IN THE END, PERHAPS, WE ALL CHOOSE OUR OWN STORY.’
PETER CRAWLEY, THE IRISH TIMES 11/02/2019
**** 4 STARS
‘THE DRAMA SPINS UPON A GRIPPING PREMISE AND THE TIMELY RELEVANCE ONLY HEIGHTENS THE SUSPENSE. THE DIFFERENT WRITING STYLES DEMANDED BY EACH SECTION ALLOWS ECCLESHARE TO SHOWCASE HIS CRAFT, WHILE THE ADDED ROLE-PLAY DEMANDED BY THE SHIFTING STRUCTURES BRINGS AN EXTRA FRISSON TO THE PLAY’S THEMES: CAN ART REDEEM THE DARKEST OF DEEDS? DENIS CLOHESSY’S ORIGINAL COMPOSITION ADDS TREMENDOUSLY TO THE SUCCESS OF THE FINAL SCENE. DESIGNER KIERAN MCBRIDE CREATES A CLEVER BACKDROP WITH LIMITED RESOURCES. ‘HEATHER’ OFFERS A WELCOME REFLECTION ON CONTEMPORARY CULTURAL EVENTS, AS WELL AS A CLEVER MEDITATION ON ETHICS AND ART.’
SARAH KEATING. SUNDAY BUSINESS POST, 17/02/2019
BEWLEY'S CAFÉ THEATRE, 2019
'THIS IS A WONDERFULLY CLEVER PIECE OF WRITING FROM ENGLISH WRITER THOMAS ECCLESHARE, A HOT-BUTTON PLAY ABOUT THE CONTEMPORARY WORLD, DELIVERED IN A SLICK AND ENTICING PACKAGE. IT IS INNOVATIVE IN FORM BUT DELIVERS ALL THE SATISFACTION OF A CONVENTIONALLY PLOTTED PAGE-TURNER. LIAM HALLIGAN HAS A FIRM GRIP ON THE COMPLEXITIES AND PACES THE SHOW PERFECTLY. AENNE BARR AND DERMOT MAGENNIS DELIVER SUPERB PERFORMANCES. KIERAN MCBRIDE’S SET HAS THAT WONDERFUL THEATRICAL VISUAL THRILL WHILE DENIS CLOHESSY’S SOUND DESIGN, HIGHLY EFFECTIVE THROUGHOUT, REACHES A FLOURISHING CLIMAX.’
KATY HAYES, THE INDEPENDENT 9/2/2019
‘ECCLESHARE’S PLAY IS THE DRAMATIC EQUIVALENT OF A RUBIX CUBE. EXPERTLY DIRECTED BY LIAM HALLIGAN, THIS PLAYFUL TWO-HANDER BEGINS WITH AN EMAIL THREAD BETWEEN A BOOK PUBLISHER, THE EXCELLENT DERMOT MAGENNIS, AND A FIRST-TIME AUTHOR, PLAYED WITH HESITANT FRAGILITY BY AENNE BARR. WITH A LUSCIOUS SOUNDSCAPE BY DENIS CLOHESSY THIS INTELLECTUALLY TICKLISH PLAY ENTERTAININGLY EXPLORES OUR READINESS TO BELIEVE WHATEVER STORY SUITS US.’
FIONA CHARLETON, THE SUNDAY TIMES 10/2/2019
‘ LIAM HALLIGAN, WHO DIRECTS THIS STAGING, SEIZES IT BY ALLOWING HIS PERFORMERS TO SLIP UNFUSSILY AND LUCIDLY BETWEEN ROLLS.
ECCLESHARE IS CERTAINLY KEEN TO PROVOKE THOUGHT: CAN THE CREATIONS OF A VILLAIN BE THEMSELVES WHOLLY INNOCENT? CONCLUDING WITH AN EXCERPT FROM THE BOOK’S FILM ADAPTATION, LACED WITH THE TECHNICAL LANGUAGE OF A SHOOTING SCRIPT (“EXT THE CAVE OF SHADOWS”) BUT ENGAGINGLY PERFORMED AS A BREATHLESS HOLLYWOOD DENOUEMENT AGAINST A TREMENDOUSLY DYNAMIC COMPOSITION BY DENIS CLOHESSY, THE PLAY ATTEMPTS ANOTHER KIND OF DOUBLING. THIS ASSURED PRODUCTION STRESSES REDEMPTION AND A DUALITY FINALLY RECONCILED BUT IT ALSO ALLOWS FOR A MORE THORNY INTERPRETATION: THAT UNDER THE AUTHOR’S SPELL, HERE IN THIS CAVE OF SHADOWS, WE SEE WHAT HEATHER WANTS US TO SEE. IN THE END, PERHAPS, WE ALL CHOOSE OUR OWN STORY.’
PETER CRAWLEY, THE IRISH TIMES 11/02/2019
**** 4 STARS
‘THE DRAMA SPINS UPON A GRIPPING PREMISE AND THE TIMELY RELEVANCE ONLY HEIGHTENS THE SUSPENSE. THE DIFFERENT WRITING STYLES DEMANDED BY EACH SECTION ALLOWS ECCLESHARE TO SHOWCASE HIS CRAFT, WHILE THE ADDED ROLE-PLAY DEMANDED BY THE SHIFTING STRUCTURES BRINGS AN EXTRA FRISSON TO THE PLAY’S THEMES: CAN ART REDEEM THE DARKEST OF DEEDS? DENIS CLOHESSY’S ORIGINAL COMPOSITION ADDS TREMENDOUSLY TO THE SUCCESS OF THE FINAL SCENE. DESIGNER KIERAN MCBRIDE CREATES A CLEVER BACKDROP WITH LIMITED RESOURCES. ‘HEATHER’ OFFERS A WELCOME REFLECTION ON CONTEMPORARY CULTURAL EVENTS, AS WELL AS A CLEVER MEDITATION ON ETHICS AND ART.’
SARAH KEATING. SUNDAY BUSINESS POST, 17/02/2019
Colin O'Donoghue in 'Leaving'. Photo: Ken Wardrop
'LEAVING' BY PHILIP OSMENT.
QUARE HAWKS THEATRE COMPANY, NATIONAL TOUR 2002/3.
'LEAVING IS COMPLEX, ADULT AND DRAMATICALLY VIABLE…EXTRAORDINARY REFRESHING. LIAM HALLIGAN DIRECTS WITH EXCELLENT UNDERSTANDING OF THEME AND TEXT.’
EMER O’ KELLY, SUNDAY INDEPENDENT
‘LEAVING IS A THOUGHT-PROVOKING, INSIGHTFUL AND EMOTIONAL PIECE OF THEATRE. THE ACTING IS FIRST RATE. THE SET DESIGN IS EXTREMELY PRODUCTIVE WHICH EMPLOYS VIDEO PROJECTION TO GREAT EFFECT. SOUND, MUSIC AND LIGHTING ALL CONTRIBUTE SIGNIFICANTLY TO THE PLAY’S HARD-HITTING EMOTIONAL IMPACT. QUARE HAWKS IS A POLISHED AND ASSURED THEATRICAL MACHINE PLOUGHING THROUGH BOTH RURAL AND URBAN CONSCIOUSNESS. DIRECTOR, LIAM HALLIGAN, HAS A TIMELY PRODUCTION ON HIS HANDS.’
BRIAN O’ CONNELL, THE EXAMINER
‘LEAVING IS A MOVING, HARROWING AND HEARTBREAKING DEPICTION OF A FAMILY’S STORY THAT GOES BEYOND THE SUM OF IT’S PARTS. THE PRODUCTION SOLIDLY NEGOTIATES THE LINE BETWEEN TRUTHFUL HUMAN BEHAVIOUR AND THE SYMBOLIC BEAUTY OF THEATRE.’
SUSAN CONLEY, WHAT’S ON WHERE
‘THE ALWAYS INTERESTING QUARE HAWKS PRESENT THIS POETIC PLAY BY PHILIP OSMENT. LIAM HALLIGAN’S DIRECTION IS IMPECCABLE IN A VERY WORTHWHILE PRODUCTION.’
GERRY COLGAN, IRISH TIMES
‘THIS PRODUCTION CERTAINLY ENHANCES QUARE HAWKS STANDING AS ONE OF THE LEADING COMPANIES IN THE COUNTRY. THEY CREATE GRAPHIC AND PROVOCATIVE IMAGERY ON A MINIMALIST SET TO CHILLING EFFECT. BY ANY STANDARDS THIS IS A POLISHED AND TIMELY PRODUCTION.
WATERFORD NEWS AND STAR
‘THERE ARE MEMORABLE MOMENTS OF THOUGHT-PROVOKING THEATRE, AND IT IS OBVIOUS THAT QUARE HAWKS IS TAKING RISKS TO PRODUCE NEW AND INTERESTING THEATRE THAT RESONATES WITH THEIR AUDIENCES. THE ATMOSPHERE IS ENHANCED BY DENIS CLOHESSY’S POIGNANT SCORE, FILLED WITH THE LONELY RESONANCE OF AN ACOUSTIC GUITAR. THE PRODUCTION USES VIDEO AND PROJECTED IMAGES TO CONVEY A SENSE OF ISOLATION AND CLEVERLY MANAGES TO SUGGEST A BLEAK BEAUTY REMINISCENT OF PATRICK KAVANAGH’S FROST-HARD BUT SOMEHOW LOVEABLE MONAGHAN.’
IRISH THEATRE MAGAZINE
‘LEAVING'IS AN EXCELLENT, DARK TALE SET IN RURAL IRELAND. THE PRODUCTION WAS AS ONE HAS COME TO EXPECT FROM QUARE HAWKS, A GRIPPING AND STYLISH DRAMA DEALING WITH A SUBJECT MATTER THAT HAS TOUCHED EVERY PART OF THE COUNTRY.’
AODHAN O’FAOLAN, THE NATIONALIST
‘THIS IS CONTEMPORARY SOCIAL THEATRE AT IT’S MOST PERCEPTIVE, DIRECTED SUPERBLY BY LIAM HALLIGAN. THIS IS A THEATRICAL TREAT.’
THE MOURNE OBSERVER
QUARE HAWKS THEATRE COMPANY, NATIONAL TOUR 2002/3.
'LEAVING IS COMPLEX, ADULT AND DRAMATICALLY VIABLE…EXTRAORDINARY REFRESHING. LIAM HALLIGAN DIRECTS WITH EXCELLENT UNDERSTANDING OF THEME AND TEXT.’
EMER O’ KELLY, SUNDAY INDEPENDENT
‘LEAVING IS A THOUGHT-PROVOKING, INSIGHTFUL AND EMOTIONAL PIECE OF THEATRE. THE ACTING IS FIRST RATE. THE SET DESIGN IS EXTREMELY PRODUCTIVE WHICH EMPLOYS VIDEO PROJECTION TO GREAT EFFECT. SOUND, MUSIC AND LIGHTING ALL CONTRIBUTE SIGNIFICANTLY TO THE PLAY’S HARD-HITTING EMOTIONAL IMPACT. QUARE HAWKS IS A POLISHED AND ASSURED THEATRICAL MACHINE PLOUGHING THROUGH BOTH RURAL AND URBAN CONSCIOUSNESS. DIRECTOR, LIAM HALLIGAN, HAS A TIMELY PRODUCTION ON HIS HANDS.’
BRIAN O’ CONNELL, THE EXAMINER
‘LEAVING IS A MOVING, HARROWING AND HEARTBREAKING DEPICTION OF A FAMILY’S STORY THAT GOES BEYOND THE SUM OF IT’S PARTS. THE PRODUCTION SOLIDLY NEGOTIATES THE LINE BETWEEN TRUTHFUL HUMAN BEHAVIOUR AND THE SYMBOLIC BEAUTY OF THEATRE.’
SUSAN CONLEY, WHAT’S ON WHERE
‘THE ALWAYS INTERESTING QUARE HAWKS PRESENT THIS POETIC PLAY BY PHILIP OSMENT. LIAM HALLIGAN’S DIRECTION IS IMPECCABLE IN A VERY WORTHWHILE PRODUCTION.’
GERRY COLGAN, IRISH TIMES
‘THIS PRODUCTION CERTAINLY ENHANCES QUARE HAWKS STANDING AS ONE OF THE LEADING COMPANIES IN THE COUNTRY. THEY CREATE GRAPHIC AND PROVOCATIVE IMAGERY ON A MINIMALIST SET TO CHILLING EFFECT. BY ANY STANDARDS THIS IS A POLISHED AND TIMELY PRODUCTION.
WATERFORD NEWS AND STAR
‘THERE ARE MEMORABLE MOMENTS OF THOUGHT-PROVOKING THEATRE, AND IT IS OBVIOUS THAT QUARE HAWKS IS TAKING RISKS TO PRODUCE NEW AND INTERESTING THEATRE THAT RESONATES WITH THEIR AUDIENCES. THE ATMOSPHERE IS ENHANCED BY DENIS CLOHESSY’S POIGNANT SCORE, FILLED WITH THE LONELY RESONANCE OF AN ACOUSTIC GUITAR. THE PRODUCTION USES VIDEO AND PROJECTED IMAGES TO CONVEY A SENSE OF ISOLATION AND CLEVERLY MANAGES TO SUGGEST A BLEAK BEAUTY REMINISCENT OF PATRICK KAVANAGH’S FROST-HARD BUT SOMEHOW LOVEABLE MONAGHAN.’
IRISH THEATRE MAGAZINE
‘LEAVING'IS AN EXCELLENT, DARK TALE SET IN RURAL IRELAND. THE PRODUCTION WAS AS ONE HAS COME TO EXPECT FROM QUARE HAWKS, A GRIPPING AND STYLISH DRAMA DEALING WITH A SUBJECT MATTER THAT HAS TOUCHED EVERY PART OF THE COUNTRY.’
AODHAN O’FAOLAN, THE NATIONALIST
‘THIS IS CONTEMPORARY SOCIAL THEATRE AT IT’S MOST PERCEPTIVE, DIRECTED SUPERBLY BY LIAM HALLIGAN. THIS IS A THEATRICAL TREAT.’
THE MOURNE OBSERVER
Photo by Toshi Sakauchi of Pat Nolan and Rose Henderson
'TAKE OFF YOUR CORNFLAKES'
BY ROSE HENDERSON & PAT NOLAN
A FISHAMBLE SHOW-IN-A-BAG PRODUCTION, 2017 AND NATIONAL TOUR 2018.
‘THIS SHOW-IN-A-BAG HAS IT ALL…PLAYED TO PERFECTION.’
EMER O’KELLY, SUNDAY INDEPENDENT.
'THIS IS AN ACUTELY OBSERVED PIECE, INSPIRED BY HENDERSON'S FAMILY'S EXPERIENCE, THAT HAS AN AUTHENTIC DIGNITY WHICH AFFIRMS THAT LOVE AND GOOD HUMOUR CAN COEXIST WITH HEARTBREAK. THESE TOPICS REQUIRE SENSITIVE HANDLING AND DIRECTOR LIAM HALLIGAN STEERS A STEADY PATH.'
FIONA CHARLETON, SUNDAY TIMES.
'ONE OF THE MOST SENSITIVE, HEARTFELT, AND UPLIFTING SHOWS OF THE FESTIVAL.'
THE ARTS REVIEW.
"**** 4 STAR REVIEW, SHOW OF THE WEEK,
'THE PLAY, WRITTEN BY THE TWO PERFORMERS, SKILFULLY KEEPS THE LOVING RELATIONSHIP CENTRAL TO EVERYTHING…WITH VERY MOVING PERFORMANCES.’
MICHAEL MOFFATT, MAIL ON SUNDAY.
BY ROSE HENDERSON & PAT NOLAN
A FISHAMBLE SHOW-IN-A-BAG PRODUCTION, 2017 AND NATIONAL TOUR 2018.
‘THIS SHOW-IN-A-BAG HAS IT ALL…PLAYED TO PERFECTION.’
EMER O’KELLY, SUNDAY INDEPENDENT.
'THIS IS AN ACUTELY OBSERVED PIECE, INSPIRED BY HENDERSON'S FAMILY'S EXPERIENCE, THAT HAS AN AUTHENTIC DIGNITY WHICH AFFIRMS THAT LOVE AND GOOD HUMOUR CAN COEXIST WITH HEARTBREAK. THESE TOPICS REQUIRE SENSITIVE HANDLING AND DIRECTOR LIAM HALLIGAN STEERS A STEADY PATH.'
FIONA CHARLETON, SUNDAY TIMES.
'ONE OF THE MOST SENSITIVE, HEARTFELT, AND UPLIFTING SHOWS OF THE FESTIVAL.'
THE ARTS REVIEW.
"**** 4 STAR REVIEW, SHOW OF THE WEEK,
'THE PLAY, WRITTEN BY THE TWO PERFORMERS, SKILFULLY KEEPS THE LOVING RELATIONSHIP CENTRAL TO EVERYTHING…WITH VERY MOVING PERFORMANCES.’
MICHAEL MOFFATT, MAIL ON SUNDAY.
Fionn Foley in Home Theatre. Photo: Killian Waters
Home Theatre (Ireland)
Draíocht And Dublin Theatre Festival 2018
‘Foley’s performance is flawless under Liam Halligan’s sharp direction.
Home Theatre is more than an enjoyable evening; it presents a wide-angle shot of an entire community in all its rich diversity. It is hard to imagine a more appropriate use of Arts Council funding for “public” projects and deserves its support.’
The Review Hub, October 2018.
Draíocht And Dublin Theatre Festival 2018
‘Foley’s performance is flawless under Liam Halligan’s sharp direction.
Home Theatre is more than an enjoyable evening; it presents a wide-angle shot of an entire community in all its rich diversity. It is hard to imagine a more appropriate use of Arts Council funding for “public” projects and deserves its support.’
The Review Hub, October 2018.
Denis Clohessy and Eoin Lynch in 'Rashomon' Photo: Toshi Sakauchi, 2003
'RASHOMON'
TWO STORIES BY RYUNOSUKE AKUTAGAWA.
STORYTELLERS NATIONAL TOUR, 2003.
‘A SAVAGE DRAMA. FOR SEVENTY-FIVE MINUTES A HYPNOTIC STAGE CREATION UNFOLDS. THE ORIGINAL MUSIC BY DENIS CLOHESSY ADDS A HAUNTING DIMENSION. THIS IS NEW GROUND FOR STORYTELLERS AND THEY HAVE HARVESTED IT WITH PROFIT.’
THE IRISH TIMES
‘THIS IS THEATRE AT PLAY. ITS EVENTFULNESS HITS YOU IMMEDIATELY YOU ENTER THE THEATRE. WHAT UNFOLDS THEREAFTER LIVES UP TO THIS IMPRESSION AND IS A TRIUMPH FOR THE THREE ACTORS, THE COMPOSER DENIS CLOHESSY AND DIRECTOR LIAM HALLIGAN. STORYTELLER’S PRODUCTION WONDERFULLY RECREATES ALL THE MAGIC AND TIMELESS DEPTHS OF WISDOM THAT RESONATE IN THESE INDELIBLE JAPANESE TALES. THIS IS AN IMAGINATIVE PRESENTATION WHICH FEATURES GLOWING PERFORMANCES AND A WONDERFUL ZEN-LIKE SET BY CHISATO YOSHIMI.
THE IRISH EXAMINER
‘CREATES AN AMBIENCE BOTH INVITING AND DISARMING. THIS IS A RIVETING, BRAIN MASSAGING TREAT.’
THE SUNDAY BUSINESS POST
TWO STORIES BY RYUNOSUKE AKUTAGAWA.
STORYTELLERS NATIONAL TOUR, 2003.
‘A SAVAGE DRAMA. FOR SEVENTY-FIVE MINUTES A HYPNOTIC STAGE CREATION UNFOLDS. THE ORIGINAL MUSIC BY DENIS CLOHESSY ADDS A HAUNTING DIMENSION. THIS IS NEW GROUND FOR STORYTELLERS AND THEY HAVE HARVESTED IT WITH PROFIT.’
THE IRISH TIMES
‘THIS IS THEATRE AT PLAY. ITS EVENTFULNESS HITS YOU IMMEDIATELY YOU ENTER THE THEATRE. WHAT UNFOLDS THEREAFTER LIVES UP TO THIS IMPRESSION AND IS A TRIUMPH FOR THE THREE ACTORS, THE COMPOSER DENIS CLOHESSY AND DIRECTOR LIAM HALLIGAN. STORYTELLER’S PRODUCTION WONDERFULLY RECREATES ALL THE MAGIC AND TIMELESS DEPTHS OF WISDOM THAT RESONATE IN THESE INDELIBLE JAPANESE TALES. THIS IS AN IMAGINATIVE PRESENTATION WHICH FEATURES GLOWING PERFORMANCES AND A WONDERFUL ZEN-LIKE SET BY CHISATO YOSHIMI.
THE IRISH EXAMINER
‘CREATES AN AMBIENCE BOTH INVITING AND DISARMING. THIS IS A RIVETING, BRAIN MASSAGING TREAT.’
THE SUNDAY BUSINESS POST
Photo by Toshi Sakauchi with Anna Shiels McNamee and Gerry Byrne.
'PYGMALION' BY BERNARD SHAW
SMOCK ALLEY, THEATRE, DUBLIN, 2017.
‘THE SAVAGERY THAT LIES AT THE ESSENCE OF THE HUMAN PSYCHE IS NEVER DIFFICULT TO IDENTIFY EVEN IN TODAY’S WORLD. THIS PRODUCTION EXPOSES THE PERFORMANCES BEHIND SOCIAL DIVISIONS AND QUESTIONS WHETHER MONEY TAKES MORE THAN IT GIVES. THERE ARE STRONG PERFORMANCES AND ANNA SHEILS-MCNAMEE BRINGS A FRANK IRREVERENCE TO THE CHARACTER OF ELIZA DOOLITTLE, WHICH IS A USEFUL TOOL TO GUARD AGAINST THE EXCESSIVE DRAMATICS OF STAGED HYSTERIA.
THE SUNDAY TIMES
FOUR STARS **** IRISH MAIL ON SUNDAY
‘HALLIGAN ALLOWS SHAW’S PLAY TO SING THROUGH THE CENTURIES AND COLM MCNALLY’S SET AND OLGA CRIADO-MONLEON’S COSTUMES COULD WELL BELONG TO THE LIVING ROOMS OF TODAY. THE INGRAINED ATTITUDES TOWARDS CLASS AND GENDER – ‘MIDDLE-CLASS MORALITY AS ELIZA’S FATHER PUT IT’ - REMAIN SURPRISINGLY MODERN. ANNA SHEILS MCNAMEE BRINGS A FEISTY SAUCINESS TO ELIZA, ENSURING WE NEVER ENVISAGE HER ACCEPTING HER FATE WITHOUT A FIGHT. PAUL MEADE’S HIGGINS SEEMS BLINDED BY HIS OWN BRAVADO RATHER THAN CRUELTY. DAVID O’MEARA DISTINGUISHES HIMSELF AS DOOLITTLE.’
SUNDAY BUSINESS POST
‘THIS PRODUCTION IS SIMPLE, UNPRETENTIOUS AND VERY ENJOYABLE. IT PUTS THE EMPHASIS FIRMLY ON THAT FIRECRACKER SOCIAL/SEXUAL DIALOGUE AND CAPTURES THE DARKER MOOD THAT TAKES OVER IN THE LAST ACT WHEN ELIZA REALISES SHE’S TRAPPED HELPLESSLY BETWEEN TWO SOCIAL WORLDS. PAUL MEADE IS AN EXCELLENT HIGGINS, ANNA SHEILS-MCNAMEE IS A FEISTY ELIZA WHO CARRIES OFF THE COCKNEY FLOWER GIRL WITH PANACHE. HER TRANSFORMATION WORKS PERFECTLY IN THE FINAL SCENE. GERARD BYRNE GENTLEMANLY COLONEL PICKERING IS A SPLENDID FOIL TO THE BOORISHNESS OF HIGGINS AND DEIRDRE MONAGHAN IS EXCELLENT AS HIGGINS NO-NONSENSE MOTHER, WHILE DAVID O’MEARA GETS THE MOST OUT OF ELIZA’S FATHER.’
THE IRISH MAIL ON SUNDAY
SMOCK ALLEY, THEATRE, DUBLIN, 2017.
‘THE SAVAGERY THAT LIES AT THE ESSENCE OF THE HUMAN PSYCHE IS NEVER DIFFICULT TO IDENTIFY EVEN IN TODAY’S WORLD. THIS PRODUCTION EXPOSES THE PERFORMANCES BEHIND SOCIAL DIVISIONS AND QUESTIONS WHETHER MONEY TAKES MORE THAN IT GIVES. THERE ARE STRONG PERFORMANCES AND ANNA SHEILS-MCNAMEE BRINGS A FRANK IRREVERENCE TO THE CHARACTER OF ELIZA DOOLITTLE, WHICH IS A USEFUL TOOL TO GUARD AGAINST THE EXCESSIVE DRAMATICS OF STAGED HYSTERIA.
THE SUNDAY TIMES
FOUR STARS **** IRISH MAIL ON SUNDAY
‘HALLIGAN ALLOWS SHAW’S PLAY TO SING THROUGH THE CENTURIES AND COLM MCNALLY’S SET AND OLGA CRIADO-MONLEON’S COSTUMES COULD WELL BELONG TO THE LIVING ROOMS OF TODAY. THE INGRAINED ATTITUDES TOWARDS CLASS AND GENDER – ‘MIDDLE-CLASS MORALITY AS ELIZA’S FATHER PUT IT’ - REMAIN SURPRISINGLY MODERN. ANNA SHEILS MCNAMEE BRINGS A FEISTY SAUCINESS TO ELIZA, ENSURING WE NEVER ENVISAGE HER ACCEPTING HER FATE WITHOUT A FIGHT. PAUL MEADE’S HIGGINS SEEMS BLINDED BY HIS OWN BRAVADO RATHER THAN CRUELTY. DAVID O’MEARA DISTINGUISHES HIMSELF AS DOOLITTLE.’
SUNDAY BUSINESS POST
‘THIS PRODUCTION IS SIMPLE, UNPRETENTIOUS AND VERY ENJOYABLE. IT PUTS THE EMPHASIS FIRMLY ON THAT FIRECRACKER SOCIAL/SEXUAL DIALOGUE AND CAPTURES THE DARKER MOOD THAT TAKES OVER IN THE LAST ACT WHEN ELIZA REALISES SHE’S TRAPPED HELPLESSLY BETWEEN TWO SOCIAL WORLDS. PAUL MEADE IS AN EXCELLENT HIGGINS, ANNA SHEILS-MCNAMEE IS A FEISTY ELIZA WHO CARRIES OFF THE COCKNEY FLOWER GIRL WITH PANACHE. HER TRANSFORMATION WORKS PERFECTLY IN THE FINAL SCENE. GERARD BYRNE GENTLEMANLY COLONEL PICKERING IS A SPLENDID FOIL TO THE BOORISHNESS OF HIGGINS AND DEIRDRE MONAGHAN IS EXCELLENT AS HIGGINS NO-NONSENSE MOTHER, WHILE DAVID O’MEARA GETS THE MOST OUT OF ELIZA’S FATHER.’
THE IRISH MAIL ON SUNDAY
Pat Nolan, Neil Fleming 'On City Water Hill' Photo by Eoin Lennon 2014
'On City Water Hill'
by Philip St John
at Theatre Upstairs 2014.
'On City Water Hill is a well-written thriller by Philip St John in the classic style of two contrasting characters. The actors muster up considerable tension and Liam Halligan’s direction makes clever use of the small space.'
**** Michael Moffatt, The Irish Mail on Sunday
'Fleming and Nolan are a powerful combination. And Nolan - in particular - has a distinctive, mysterious chill that makes him less Terminator and more The Equalizer. In this piece Philip St John has created an unpredictable story of a hit that would best not to be missed.'
The Daily Mail
‘St John has created a well-crafted play about the dark world of criminal contracts which kept me engaged in a world which is beyond my ken, even though our news contains much evidence that it is alive and well and living in Dublin.’
nomoreworkhorse.com
by Philip St John
at Theatre Upstairs 2014.
'On City Water Hill is a well-written thriller by Philip St John in the classic style of two contrasting characters. The actors muster up considerable tension and Liam Halligan’s direction makes clever use of the small space.'
**** Michael Moffatt, The Irish Mail on Sunday
'Fleming and Nolan are a powerful combination. And Nolan - in particular - has a distinctive, mysterious chill that makes him less Terminator and more The Equalizer. In this piece Philip St John has created an unpredictable story of a hit that would best not to be missed.'
The Daily Mail
‘St John has created a well-crafted play about the dark world of criminal contracts which kept me engaged in a world which is beyond my ken, even though our news contains much evidence that it is alive and well and living in Dublin.’
nomoreworkhorse.com
Photo by Toshi Sakauchi with Matthew O'Brien and Aoife Moore.
‘LANGUAGE OF THE MUTE’
BY JACK HARTE
NEW THEATRE AND NATIONAL TOUR, 2017.
‘JACK HARTE IS LIABLE TO FACE CALLS FOR HIS BURNING AT THE STAKE FOR HIS FIRST PLAY. THE PLAY’S PASSION TO DE-BUNK BLOOD SACRIFICE IS AS FIERCE AS IT IS SALUTARY…IT CUTS TO THE HEART. THIS IS AN IMPORTANT PLAY, AND DESERVES SOME SERIOUS OBJECTIVE CONSIDERATION.’’
SUNDAY INDEPENDENT
‘THIS IS A VERY DIFFICULT TALE TO TELL. THE PLAY BRAVELY TACKLES SUBJECTS THAT SOME WOULD RATHER NOT ACKNOWLEDGE AND IN DOING SO ATTEMPTS TO GIVE WORDS TO THOSE WHO CANNOT SPEAK OR WHO ARE NOT LISTENED TO. THE DRAMA TAKES PLACE BETWEEN THE 1990S AND THE 1970S, WITH THE TRANSITION BETWEEN THESE PERIODS BEING VERY WELL DIRECTED (LIAM HALLIGAN) AND STRUCTURED. OF NOTE, DENE BOLA’S SOUND SKILLS ADD AN EERIE CALMNESS TO THE TRANSITIONS AND THIS WORKS VERY WELL A FURTHERING THE EMOTIONAL IMPACT OF THE TALE.’
THE PUBLIC REVIEWS
BY JACK HARTE
NEW THEATRE AND NATIONAL TOUR, 2017.
‘JACK HARTE IS LIABLE TO FACE CALLS FOR HIS BURNING AT THE STAKE FOR HIS FIRST PLAY. THE PLAY’S PASSION TO DE-BUNK BLOOD SACRIFICE IS AS FIERCE AS IT IS SALUTARY…IT CUTS TO THE HEART. THIS IS AN IMPORTANT PLAY, AND DESERVES SOME SERIOUS OBJECTIVE CONSIDERATION.’’
SUNDAY INDEPENDENT
‘THIS IS A VERY DIFFICULT TALE TO TELL. THE PLAY BRAVELY TACKLES SUBJECTS THAT SOME WOULD RATHER NOT ACKNOWLEDGE AND IN DOING SO ATTEMPTS TO GIVE WORDS TO THOSE WHO CANNOT SPEAK OR WHO ARE NOT LISTENED TO. THE DRAMA TAKES PLACE BETWEEN THE 1990S AND THE 1970S, WITH THE TRANSITION BETWEEN THESE PERIODS BEING VERY WELL DIRECTED (LIAM HALLIGAN) AND STRUCTURED. OF NOTE, DENE BOLA’S SOUND SKILLS ADD AN EERIE CALMNESS TO THE TRANSITIONS AND THIS WORKS VERY WELL A FURTHERING THE EMOTIONAL IMPACT OF THE TALE.’
THE PUBLIC REVIEWS
Photo by Toshi Sakauchi of Billie Traynor and Noelle Brown.
'THE IMPORTANCE OF BEING HONEST'
BY BILLIE TRAYNOR.
BEWLEY'S CAFE THEATRE, NATIONAL TOUR, 2017.
'A WISE PLAY IN AN ENTIRELY DELIGHTFUL PRODUCTION BY LIAM HALLIGAN.'
SUNDAY INDEPENDENT
'IN WILDE'S PLAY THE SOCIAL COMMENTARY IS SECONDARY TO THE ENTERTAINMENT, TRAYNOR BALANCES THEM EQUALLY.'
THE SUNDAY TIMES
'BILLIE TRAYNOR TAKES A BOLD AND IMAGINATIVE LEAP...IT'S AN HOMAGE TO WILDE, EXPLORED WITH AN ADMIRABLE LIGHTNESS OF TOUCH. GWENDOLEN IS GLORIOUSLY SELF-DELUDED AND AN OUTRAGEOUS SNOB. TRAYNOR AND MONAGHAN COUNTERBALANCE EACH OTHER BRILLIANTLY...AND IT HAS PLENTY OF CONTEMPORARY RELEVANCE.'
SUNDAY BUSINESS POST
'LIAM HALLIGAN'S DIRECTION WORKS FABULOUSLY….THE ONSTAGE CHEMISTRY IS UNSHAKEABLE.'
THE PUBLIC REVIEWS
BY BILLIE TRAYNOR.
BEWLEY'S CAFE THEATRE, NATIONAL TOUR, 2017.
'A WISE PLAY IN AN ENTIRELY DELIGHTFUL PRODUCTION BY LIAM HALLIGAN.'
SUNDAY INDEPENDENT
'IN WILDE'S PLAY THE SOCIAL COMMENTARY IS SECONDARY TO THE ENTERTAINMENT, TRAYNOR BALANCES THEM EQUALLY.'
THE SUNDAY TIMES
'BILLIE TRAYNOR TAKES A BOLD AND IMAGINATIVE LEAP...IT'S AN HOMAGE TO WILDE, EXPLORED WITH AN ADMIRABLE LIGHTNESS OF TOUCH. GWENDOLEN IS GLORIOUSLY SELF-DELUDED AND AN OUTRAGEOUS SNOB. TRAYNOR AND MONAGHAN COUNTERBALANCE EACH OTHER BRILLIANTLY...AND IT HAS PLENTY OF CONTEMPORARY RELEVANCE.'
SUNDAY BUSINESS POST
'LIAM HALLIGAN'S DIRECTION WORKS FABULOUSLY….THE ONSTAGE CHEMISTRY IS UNSHAKEABLE.'
THE PUBLIC REVIEWS
Chrisitane O'Mahony as Mary Stuart by Toshi Sakauchi
'MARY STUART' BY SCHILLER
PAGEANT WAGON, DUBLIN'S FREEMASON'S HALL, 2015.
‘THIS CLASSIC MASTERPIECE OF POLITICAL DISSENT IS AS FRESH AND VIBRANT TODAY AS IT MUST HAVE BEEN IN THE 19TH CENTURY. THE PLAY IS AN UNFLINCHING PORTRAYALS OF THE POLITICAL ELITE AND THE SHADOWY FORCES THAT ATTEMPT TO DISRUPT THE ORDER AND THE RULINGS OF THE ESTABLISHMENT. THIS IS WHAT GREAT PLAYS DO: THEY EXPRESS THEMES AND SENTIMENTS THAT CAN NEVER BE BANISHED FROM SOCIETY.’
FOUR STARS **** ENTERTAINMENT.IE
PAGEANT WAGON, DUBLIN'S FREEMASON'S HALL, 2015.
‘THIS CLASSIC MASTERPIECE OF POLITICAL DISSENT IS AS FRESH AND VIBRANT TODAY AS IT MUST HAVE BEEN IN THE 19TH CENTURY. THE PLAY IS AN UNFLINCHING PORTRAYALS OF THE POLITICAL ELITE AND THE SHADOWY FORCES THAT ATTEMPT TO DISRUPT THE ORDER AND THE RULINGS OF THE ESTABLISHMENT. THIS IS WHAT GREAT PLAYS DO: THEY EXPRESS THEMES AND SENTIMENTS THAT CAN NEVER BE BANISHED FROM SOCIETY.’
FOUR STARS **** ENTERTAINMENT.IE
Aileen Mythen and Iseult Golden. Photo: Toshi Sakauchi
'Holy Mary' by Eoin Colfer
Bewley's Café Theatre and Arts Council funded National Tour 2011.
‘This is unalloyed enjoyment, worthy of Roald Dhal. Colfer’s new play is funny, endearing and clever. Both actors deliver standout performances.’
The Sunday Times
‘The master of youth subversion and the author of ‘Artemis Fowl’ has taken on the defence of bullied youth both charmingly and endearingly. It’s all beautifully encapsulated and both performers are delightful.’
Sunday Independent
‘There are sacramental puns aplenty and childhood bullying is at it’s dark, menacing heart. Holy Mary’s greatest success is in the exuberant performances by Mythen and Golden under Liam Halligan’s expert direction..’
**** Metro
‘This is a great testimony to the power of live theatre. Colfer finds a way to drive his point home with both laughter and tears. Mythen plays Mary with in a vivid, captivating way becoming the child as a complex, emotional creature. Golden is versatility personified. Denis Clohessy contributes a haunting soundscape. This is a highly compact piece of theatre, could fit in a laundry basket and achieve a life after this tour.’
Irish Theatre Magazine
‘There is humour and pathos aplenty’
The Irish Times
Bewley's Café Theatre and Arts Council funded National Tour 2011.
‘This is unalloyed enjoyment, worthy of Roald Dhal. Colfer’s new play is funny, endearing and clever. Both actors deliver standout performances.’
The Sunday Times
‘The master of youth subversion and the author of ‘Artemis Fowl’ has taken on the defence of bullied youth both charmingly and endearingly. It’s all beautifully encapsulated and both performers are delightful.’
Sunday Independent
‘There are sacramental puns aplenty and childhood bullying is at it’s dark, menacing heart. Holy Mary’s greatest success is in the exuberant performances by Mythen and Golden under Liam Halligan’s expert direction..’
**** Metro
‘This is a great testimony to the power of live theatre. Colfer finds a way to drive his point home with both laughter and tears. Mythen plays Mary with in a vivid, captivating way becoming the child as a complex, emotional creature. Golden is versatility personified. Denis Clohessy contributes a haunting soundscape. This is a highly compact piece of theatre, could fit in a laundry basket and achieve a life after this tour.’
Irish Theatre Magazine
‘There is humour and pathos aplenty’
The Irish Times
Ruth McGill, Deirdre Monaghan. 'Turn of the Screw'. Photo: Toshi Sakauchi
'THE TURN OF THE SCREW'
ADAPTED AND DIRECTED BY LIAM HALLIGAN.
STORYTELLERS NATIONAL TOUR 2007.
'The power of this new version lies in a pervasive sense of corrupted innocence creating an entertaining and spooky tale of demonic possession. Halligan also directs with control and sensitivity.'
Gerry Colgan, The Irish Times
‘A FINE PRODUCTION, STUNNING IN ITS SIMPLICITY. RUTH MCGILL’S EXCELLENT PERFORMANCE IS PAINFULLY RAW…GORGEOUSLY REPRODUCED.’
SUNDAY BUSINESS POST
‘A TRULY MEMORABLE THEATRICAL WORK. THIS SUPERB PRODUCTION AND A RIVETING ADAPTATION.’
IRISH EXAMINER
ADAPTED AND DIRECTED BY LIAM HALLIGAN.
STORYTELLERS NATIONAL TOUR 2007.
'The power of this new version lies in a pervasive sense of corrupted innocence creating an entertaining and spooky tale of demonic possession. Halligan also directs with control and sensitivity.'
Gerry Colgan, The Irish Times
‘A FINE PRODUCTION, STUNNING IN ITS SIMPLICITY. RUTH MCGILL’S EXCELLENT PERFORMANCE IS PAINFULLY RAW…GORGEOUSLY REPRODUCED.’
SUNDAY BUSINESS POST
‘A TRULY MEMORABLE THEATRICAL WORK. THIS SUPERB PRODUCTION AND A RIVETING ADAPTATION.’
IRISH EXAMINER
Matthew Ralli, Anna Shiels McNamee. Photo: Marcus Costello
'THE SYLVIA'
by Philip St John
Smock Alley Theatre, Dublin. Collaborations Festival 2013.
‘Philip St. John’s drama is an exploration of the uneasy relationship between the viewer and the viewed, the slippery politics of exploitation, and the shifting value placed on constructed images. St. John does make this argument compelling in the midst of the recent financial crash. In broad strokes, his narrative is cleverly constructed as a diptych, where the second half offers us a mirror image of the first, but with inverted positions of power and privilege. The haves are suddenly the have nots. Director Liam Halligan has worked well with his actors in shaping St. John’s pithy dialogue, the texture of which recalls the sly menace of Harold Pinter or Philip Ridley.'
Jessie Weaver, Irish Theatre Magazine
‘The Sylvia is a new attractive and elegantly constructed play by playwright Philip St John. Structured in two acts that mirror and oppose each other, at times dramatic, at times hilarious, “The Sylvia” delivers. The dialogues are rapid and witty and the staging, although minimalistic, is effective.The two main protagonists, Barry (Delaney) and Sylvia (McNamee) are excellent throughout. McNamee’s rendering of the complexities of a character like Sylvia is impressive. The audience is constantly challenged and amused. The Sylvia is a brave reflection on our society and its hidden obsessions.’
Hi Magazine
by Philip St John
Smock Alley Theatre, Dublin. Collaborations Festival 2013.
‘Philip St. John’s drama is an exploration of the uneasy relationship between the viewer and the viewed, the slippery politics of exploitation, and the shifting value placed on constructed images. St. John does make this argument compelling in the midst of the recent financial crash. In broad strokes, his narrative is cleverly constructed as a diptych, where the second half offers us a mirror image of the first, but with inverted positions of power and privilege. The haves are suddenly the have nots. Director Liam Halligan has worked well with his actors in shaping St. John’s pithy dialogue, the texture of which recalls the sly menace of Harold Pinter or Philip Ridley.'
Jessie Weaver, Irish Theatre Magazine
‘The Sylvia is a new attractive and elegantly constructed play by playwright Philip St John. Structured in two acts that mirror and oppose each other, at times dramatic, at times hilarious, “The Sylvia” delivers. The dialogues are rapid and witty and the staging, although minimalistic, is effective.The two main protagonists, Barry (Delaney) and Sylvia (McNamee) are excellent throughout. McNamee’s rendering of the complexities of a character like Sylvia is impressive. The audience is constantly challenged and amused. The Sylvia is a brave reflection on our society and its hidden obsessions.’
Hi Magazine
Claire Galvin in 'Drawing Crosses' Photo: John Gunning
'Drawing Crosses on a Dusty Windowpane'
by Dylan Coburn Gray
Mick Lally Theatre, Galway Theatre Festival 2016.
'Piles of shoes lie scattered around the stage, performer Claire Galvin stands calmly, waiting for the right moment to begin. When she speaks, it’s the beginning of a full 45 minutes of intricate, poetic text that she delivers without so much as a stutter.
The simplicity of the show’s design echoes Galvin’s own performance: she has a light touch as an actor but communicates with absolute clarity even in the midst of potentially obscure passages. Liam Halligan’s subtle direction should also be given credit here.
The show advances, moving between prose and more rhythmic spoken word sections phrased by writer Coburn Gray with often exquisite precision.
This is melancholy, hopeful, insightful and well-crafted material.'
The Review Hub
by Dylan Coburn Gray
Mick Lally Theatre, Galway Theatre Festival 2016.
'Piles of shoes lie scattered around the stage, performer Claire Galvin stands calmly, waiting for the right moment to begin. When she speaks, it’s the beginning of a full 45 minutes of intricate, poetic text that she delivers without so much as a stutter.
The simplicity of the show’s design echoes Galvin’s own performance: she has a light touch as an actor but communicates with absolute clarity even in the midst of potentially obscure passages. Liam Halligan’s subtle direction should also be given credit here.
The show advances, moving between prose and more rhythmic spoken word sections phrased by writer Coburn Gray with often exquisite precision.
This is melancholy, hopeful, insightful and well-crafted material.'
The Review Hub
Francis Usanga, Ciara Goss 'When the Hunter Returns'. Photo: Tom Maher.
'WHEN THE HUNTER RETURNS'
BY LALLY KATZ, PROJECT ARTS CENTRE, DUBLIN. 2009.
'LALLY KATZ'S PLAY CHALLENGES THE ACTORS TO MOVE OUT OF THE COMFORT ZONE OF PSYCHOLOGICAL REALISM ON A NUMBER OF LEVELS. THE ENTIRE ENSEMBLE IS TO BE COMMENDED FOR ITS WILLINGNESS TO INVEST SO FULLY IN THE COLLECTIVITY THAT LIAM HALLIGAN'S BEAUTIFUL IMAGISTIC PRODUCTION DEMANDS.'
SARA KEATING, THE IRISH TIMES
BY LALLY KATZ, PROJECT ARTS CENTRE, DUBLIN. 2009.
'LALLY KATZ'S PLAY CHALLENGES THE ACTORS TO MOVE OUT OF THE COMFORT ZONE OF PSYCHOLOGICAL REALISM ON A NUMBER OF LEVELS. THE ENTIRE ENSEMBLE IS TO BE COMMENDED FOR ITS WILLINGNESS TO INVEST SO FULLY IN THE COLLECTIVITY THAT LIAM HALLIGAN'S BEAUTIFUL IMAGISTIC PRODUCTION DEMANDS.'
SARA KEATING, THE IRISH TIMES
Maeve McGrath in 'Last Year'. Photo: Colm Maher.
'LAST YEAR' by Gavin Kostick
Fishamble Show-in-a-Bag. Dublin Fringe Festival 2011.
'Liam Halligan's staging is simple, with music and projected interludes alerting us to the play's shifting tone before the true nature of things is revealed. The end is truly moving as performer Maeve McGrath drops all defences and embraces her fate.'
Sarah Keating, The Irish Times
'The everyday inevitabilities of both life and death are represented equally well here. Ably directed by Liam Halligan, McGrath plays Orlaith, who effectively conveys the emotional earthquake that Orlaith experiences.'
Jessie Weaver, Irish Theatre Magazine
Fishamble Show-in-a-Bag. Dublin Fringe Festival 2011.
'Liam Halligan's staging is simple, with music and projected interludes alerting us to the play's shifting tone before the true nature of things is revealed. The end is truly moving as performer Maeve McGrath drops all defences and embraces her fate.'
Sarah Keating, The Irish Times
'The everyday inevitabilities of both life and death are represented equally well here. Ably directed by Liam Halligan, McGrath plays Orlaith, who effectively conveys the emotional earthquake that Orlaith experiences.'
Jessie Weaver, Irish Theatre Magazine
Carrie Crowley and Brian Bennett's legs. Photo: Michael Gunning
'A MIDSUMMER NIGHT'S DREAM'
STORYTELLERS/THE IRISH CHAMBER ORCHESTRA
DIRECTED BY LAURENCE EVANS AND LIAM HALLIGAN.
NATIONAL CONCERT HALL AND TOUR, 2008.
‘A BEWITCHING, BEGUILING NIGHT’S THEATRE. RIGHT FROM THE FIRST FOUR CHORDS WE WERE IN A PLACE APART, A PLACE WHERE THEATRICALITY AND MUSICAL MAGIC HAPPENED.
A MAGICAL EXPERIENCE SUPERBLY PLAYED BY ALL.'
IRISH EXAMINER
‘A HIGH ENERGY PRODUCTION DELIVERING HIT BY HIT.'
MICHAEL DERVAN, THE IRISH TIMES
STORYTELLERS/THE IRISH CHAMBER ORCHESTRA
DIRECTED BY LAURENCE EVANS AND LIAM HALLIGAN.
NATIONAL CONCERT HALL AND TOUR, 2008.
‘A BEWITCHING, BEGUILING NIGHT’S THEATRE. RIGHT FROM THE FIRST FOUR CHORDS WE WERE IN A PLACE APART, A PLACE WHERE THEATRICALITY AND MUSICAL MAGIC HAPPENED.
A MAGICAL EXPERIENCE SUPERBLY PLAYED BY ALL.'
IRISH EXAMINER
‘A HIGH ENERGY PRODUCTION DELIVERING HIT BY HIT.'
MICHAEL DERVAN, THE IRISH TIMES
Janusz Sheagall, Emmet Kirwan 'Mushroom'. Photo: Toshi Sakauchi.
'MUSHROOM'
BY PAUL MEADE. STORYTELLERS NATIONAL TOUR, 2007.
'A REAL DEVELOPMENT IN IRISH THEATRE.’
R.T.E. THE VIEW
'Fantastic!'
The Polski Express
‘Offers a fresh perspective with a blend of pathos and humour.’
The Sunday Times
BY PAUL MEADE. STORYTELLERS NATIONAL TOUR, 2007.
'A REAL DEVELOPMENT IN IRISH THEATRE.’
R.T.E. THE VIEW
'Fantastic!'
The Polski Express
‘Offers a fresh perspective with a blend of pathos and humour.’
The Sunday Times
Una Kavanagh in 'Speaking in Tongues'. Photo: Toshi Sakauchi.
'SPEAKING IN TONGUES'
BY ANDREW BOVELL.
A QUARE HAWKS/CIVIC THEATRE CO-PRODUCTION. NATIONAL TOUR, 2004.
‘There can be no doubt about the strength of Bovell’s creative imagination. The four actors bring clarity and depth. Liam Halligan’s direction is fluent and sharply etched, against Marcus Costello flexible design.’
The Irish Times
‘This is an interesting, intelligent and extremely well made play. Halligan gives it a fine production with excellent performances.’
The Sunday Independent
‘Bovell creates a literal chorus of bravado and candor, of attraction and repulsion. It is a deliciously complex play. Halligan ensures that not a single moment goes astray.’
What’s On Where
‘IT IS THE MUSIC THAT STRIKES THE DISTINCTIVE MOOD FOR THIS PRODUCTION. THE OFF KILTER APPROACH TO THE MUSIC IS IN HARMONY WITH THE WRITING AS IT SLIPS SLIDES AROUND BETWEEN DIFFERENT STORIES AND CHARACTERS FALLING IN TO AND OUT OF RELATIONSHIPS. DIRECTOR LIAM HALLIGAN IS SENSITIVE TO THE VERBAL BOUNCE OF THE FIRST ACT AND THE MORE SOMBER MOOD OF THE SECOND.’
Evening Echo
BY ANDREW BOVELL.
A QUARE HAWKS/CIVIC THEATRE CO-PRODUCTION. NATIONAL TOUR, 2004.
‘There can be no doubt about the strength of Bovell’s creative imagination. The four actors bring clarity and depth. Liam Halligan’s direction is fluent and sharply etched, against Marcus Costello flexible design.’
The Irish Times
‘This is an interesting, intelligent and extremely well made play. Halligan gives it a fine production with excellent performances.’
The Sunday Independent
‘Bovell creates a literal chorus of bravado and candor, of attraction and repulsion. It is a deliciously complex play. Halligan ensures that not a single moment goes astray.’
What’s On Where
‘IT IS THE MUSIC THAT STRIKES THE DISTINCTIVE MOOD FOR THIS PRODUCTION. THE OFF KILTER APPROACH TO THE MUSIC IS IN HARMONY WITH THE WRITING AS IT SLIPS SLIDES AROUND BETWEEN DIFFERENT STORIES AND CHARACTERS FALLING IN TO AND OUT OF RELATIONSHIPS. DIRECTOR LIAM HALLIGAN IS SENSITIVE TO THE VERBAL BOUNCE OF THE FIRST ACT AND THE MORE SOMBER MOOD OF THE SECOND.’
Evening Echo
'The Dream of a Summer's Day' Set & Lighting Design by Marcus Costello. Photo: Toshi Sakauchi.
'THE DREAM OF A SUMMER'S DAY'
ADAPTED AND DIRECTED BY LIAM HALLIGAN
FROM THE LIFE AND STORIES OF LAFCADIO HEARN.
STORYTELLER'S NATIONAL TOUR, 2005.
‘A TRIUMPH OF THEATRICALITY AND THOUGHTFUL CHARM… USING PHYSICALITY WITH PRECISE EXPERTISE TO EMBELLISH AND SUPPORT
THE TEXT SEAMLESSLY AND EVOCATIVELY. THE CAST ARE LITTLE SHORT OF MESMERIZING. A DAUNTINGLY IMAGINATIVE WORK.’
SUNDAY INDEPENDENT 10/04/05
‘ABSORBING STORY…THIS IS VIVID EXPRESSIONISM.’
THE IRISH TIMES 08/04/05
‘A VERY SOPHISTICATED PIECE OF WORK. THIS IS A FULLY REALISED VISION …ESSENTIALLY BEAUTIFUL. A HIGH WATERMARK OF DESIGN. WONDERFUL ACTING!'
R.T.E. THE VIEW, APRIL 2005
ADAPTED AND DIRECTED BY LIAM HALLIGAN
FROM THE LIFE AND STORIES OF LAFCADIO HEARN.
STORYTELLER'S NATIONAL TOUR, 2005.
‘A TRIUMPH OF THEATRICALITY AND THOUGHTFUL CHARM… USING PHYSICALITY WITH PRECISE EXPERTISE TO EMBELLISH AND SUPPORT
THE TEXT SEAMLESSLY AND EVOCATIVELY. THE CAST ARE LITTLE SHORT OF MESMERIZING. A DAUNTINGLY IMAGINATIVE WORK.’
SUNDAY INDEPENDENT 10/04/05
‘ABSORBING STORY…THIS IS VIVID EXPRESSIONISM.’
THE IRISH TIMES 08/04/05
‘A VERY SOPHISTICATED PIECE OF WORK. THIS IS A FULLY REALISED VISION …ESSENTIALLY BEAUTIFUL. A HIGH WATERMARK OF DESIGN. WONDERFUL ACTING!'
R.T.E. THE VIEW, APRIL 2005
Seamus Moran in 'Less than A Year'. Photo: Kieran McBride
‘LESS THAN A YEAR’
A VERBATIM TEXT PIECE BY HELENA ENWRIGHT
ISLAND THEATRE COMPANY, LIMERICK, 2006.
‘The play gains extraordinary power from it's own use of testimony. It is transformed from a personal story into a universal dilemma, giving the play political bite.'
THE IRISH TIMES
‘Liam Halligan brings you into a personal space and creates a genuine dramatic experience.’
Irish Independent
‘Emotive and utterly plausible. A brilliant piece of ducu-drama.’
Irish Examiner
A VERBATIM TEXT PIECE BY HELENA ENWRIGHT
ISLAND THEATRE COMPANY, LIMERICK, 2006.
‘The play gains extraordinary power from it's own use of testimony. It is transformed from a personal story into a universal dilemma, giving the play political bite.'
THE IRISH TIMES
‘Liam Halligan brings you into a personal space and creates a genuine dramatic experience.’
Irish Independent
‘Emotive and utterly plausible. A brilliant piece of ducu-drama.’
Irish Examiner
Aidan Turner and Janet Moran in 'The Crck of Gold'. Photo: Ros Kavanagh.
'The Crock of Gold' by James Stephens.
Adapted and directed by Fiona Buffini 2006.
Produced by Storytellers. Olympia Theatre and National Tour.
‘The golden novel comes to life in this imaginative staging.’
Evening Echo
‘This story of love and learning is beautifully realised in this inventive and gently wondrous production.’
Sunday Tribune
Adapted and directed by Fiona Buffini 2006.
Produced by Storytellers. Olympia Theatre and National Tour.
‘The golden novel comes to life in this imaginative staging.’
Evening Echo
‘This story of love and learning is beautifully realised in this inventive and gently wondrous production.’
Sunday Tribune
Chris Kelly and Seamus Moran in 'The Undertaking'. Photo: Marcus Costello
'THE UNDERTAKING'
BY PHILIP OSMENT, QUARE HAWKS.
DUBLIN FRINGE FESTIVAL, NATIONAL TOUR AND
STADSSCHOUWBURG AMSTERDAM 1999/2000.
‘EXCELLENT PRODUCTION …EXCELLENT CAST. WELL WORTH A VISIT.’
THE IRISH TIMES
‘A MOVING AND WORTHWHILE PRODUCTION. THE PLAY IS A RARE AND WELCOME LOOK AT ISSUES OF HOMOSEXUALITY IN AN IRISH CONTEXT.’
THE SUNDAY TRIBUNE
‘AT TIMES HILARIOUS, AT OTHER TIMES BLEAK, THIS PLAY WENT DOWN A TREAT WITH CORK AUDIENCES.'
THE IRISH EXAMINER
‘THE PLAY RAISES LAUDABLE ISSUES WITHOUT FORCING THEM. UNDER LIAM HALLIGAN’S DIRECTION, ALL FIVE CHARACTERS DEVELOP STEADILY. STRONG PERFORMANCES…’
IRISH INDEPENDENT
‘A SKILLFUL COMPANY... THIS AFFECTING PLAY, A BITTERSWEET MEDITATION ON LOVE AND LIFE WITH A SPIRITUAL DIMENSION, RECALLS CHEKHOV.’
WESTERN EUROPEAN STAGES, AMSTERDAM
‘OSMENT CREATES FIVE HIGHLY CREDIBLE CHARACTERS IN THIS BITTERSWEET LOOK AT LOVES LOST. HIS EXPLORATION OF TRADITION AND RITUAL, AND HOW WE FACE UP TO DEATH, CONTAINS SOME UNPLEASANT TRUTHS. IT’S EXPLICIT AND TOUGH TALKING. NOT MUCH ROCK ‘N’ ROLL, BUT A FAIR BIT OF EVERYTHING ELSE.’
BELFAST TELEGRAPH
BY PHILIP OSMENT, QUARE HAWKS.
DUBLIN FRINGE FESTIVAL, NATIONAL TOUR AND
STADSSCHOUWBURG AMSTERDAM 1999/2000.
‘EXCELLENT PRODUCTION …EXCELLENT CAST. WELL WORTH A VISIT.’
THE IRISH TIMES
‘A MOVING AND WORTHWHILE PRODUCTION. THE PLAY IS A RARE AND WELCOME LOOK AT ISSUES OF HOMOSEXUALITY IN AN IRISH CONTEXT.’
THE SUNDAY TRIBUNE
‘AT TIMES HILARIOUS, AT OTHER TIMES BLEAK, THIS PLAY WENT DOWN A TREAT WITH CORK AUDIENCES.'
THE IRISH EXAMINER
‘THE PLAY RAISES LAUDABLE ISSUES WITHOUT FORCING THEM. UNDER LIAM HALLIGAN’S DIRECTION, ALL FIVE CHARACTERS DEVELOP STEADILY. STRONG PERFORMANCES…’
IRISH INDEPENDENT
‘A SKILLFUL COMPANY... THIS AFFECTING PLAY, A BITTERSWEET MEDITATION ON LOVE AND LIFE WITH A SPIRITUAL DIMENSION, RECALLS CHEKHOV.’
WESTERN EUROPEAN STAGES, AMSTERDAM
‘OSMENT CREATES FIVE HIGHLY CREDIBLE CHARACTERS IN THIS BITTERSWEET LOOK AT LOVES LOST. HIS EXPLORATION OF TRADITION AND RITUAL, AND HOW WE FACE UP TO DEATH, CONTAINS SOME UNPLEASANT TRUTHS. IT’S EXPLICIT AND TOUGH TALKING. NOT MUCH ROCK ‘N’ ROLL, BUT A FAIR BIT OF EVERYTHING ELSE.’
BELFAST TELEGRAPH
Sinead McKenna, Padraig McIntyre. Photo: Marcus Costello
'Winter Came Down'
by Michael McCudden.
Quare Hawks Theatre Company.
Funded by EU Peace & Reconciliation Fund 2003.
Nominated for a Stewart Parker Award.
‘This is a typically absorbing production by this innovative company, asking questions and taking chances. The sensitive direction ensures that the play’s values are fully realised. It’s an excellent snapshot of lives on the edge.’
The Irish Times.
by Michael McCudden.
Quare Hawks Theatre Company.
Funded by EU Peace & Reconciliation Fund 2003.
Nominated for a Stewart Parker Award.
‘This is a typically absorbing production by this innovative company, asking questions and taking chances. The sensitive direction ensures that the play’s values are fully realised. It’s an excellent snapshot of lives on the edge.’
The Irish Times.
Lisa Sadovy, Walter van Dijk. Photo: Liam Halligan
'A KURT WEILL CABARET'
VAN DYJK & COMPANY LONDON
AND STADSSCHOUWBURG, AMSTERDAM 1992.
'EXTREMELY EXPRESSIVE, WE EXPERIENCE ALL THE RAW EMOTION'
MICHAEL ARDITTI, LONDON'S EVENING STANDARD
'A POWERFUL REVIVAL'
LONDON'S TIME OUT MAGAZINE
'A treat...guaranteed to leave you mesmerised.'
CITY LIMITS MAGAZINE
'THE COMPANY ARE DESERVIDLY PLAYING TO PACKED HOUSES. THE SHOW SHOULD BE APPRECIATED EVERYWHERE THE MUSIC OF KURT WEILL IS KNOWN AND LOVED... FLAWLESSLY CAST.'
ERIC BRAUN, THE STAGE
'A CLASSY COMPILATION BEAUTIFULLY FASHIONED...CAPTURES THE POPULAR OF WEILL'S HUGE OUTPUT. LIAM HALLIGAN'S THOROUGHLY ENJOYABLE PRODUCTION IS IMPOSSIBLE TO FAULT.'
ROGER FOSS, LONDON'S WHAT'S ON WHERE
VAN DYJK & COMPANY LONDON
AND STADSSCHOUWBURG, AMSTERDAM 1992.
'EXTREMELY EXPRESSIVE, WE EXPERIENCE ALL THE RAW EMOTION'
MICHAEL ARDITTI, LONDON'S EVENING STANDARD
'A POWERFUL REVIVAL'
LONDON'S TIME OUT MAGAZINE
'A treat...guaranteed to leave you mesmerised.'
CITY LIMITS MAGAZINE
'THE COMPANY ARE DESERVIDLY PLAYING TO PACKED HOUSES. THE SHOW SHOULD BE APPRECIATED EVERYWHERE THE MUSIC OF KURT WEILL IS KNOWN AND LOVED... FLAWLESSLY CAST.'
ERIC BRAUN, THE STAGE
'A CLASSY COMPILATION BEAUTIFULLY FASHIONED...CAPTURES THE POPULAR OF WEILL'S HUGE OUTPUT. LIAM HALLIGAN'S THOROUGHLY ENJOYABLE PRODUCTION IS IMPOSSIBLE TO FAULT.'
ROGER FOSS, LONDON'S WHAT'S ON WHERE
Gertrude Montgomery, Stella Madden, Kevin Quinn, Deirdre Monaghan, Alan Devine, Sarah Jane Drummey, Ciaran McIntyre. Photo: Ros Kavanagh.
'HARD TIMES'
BY CHARLES DICKENS, ADAPTED BY
MARY ELIZABETH BURKE KENNEDY
STORYTELLERS, NATIONAL TOUR, 1998.
'SENSITIVE AND DETAILED DIRECTION BRINGS THE DRAMA TO ABSORBING LIFE...A COMPLETE EXPERIENCE.'
THE IRISH TIMES
'DYNAMIC AND ACCESSIBLE WITH CHARACTERISATION WHICH IS BOTH BROAD AND IMMEDIATE WITH RIGOROUS PHYSICAL AND VOCAL PRECISION...FUSED WITH A CONTEMPORARY RELEVANCE.'
SUNDAY TRIBUNE
BY CHARLES DICKENS, ADAPTED BY
MARY ELIZABETH BURKE KENNEDY
STORYTELLERS, NATIONAL TOUR, 1998.
'SENSITIVE AND DETAILED DIRECTION BRINGS THE DRAMA TO ABSORBING LIFE...A COMPLETE EXPERIENCE.'
THE IRISH TIMES
'DYNAMIC AND ACCESSIBLE WITH CHARACTERISATION WHICH IS BOTH BROAD AND IMMEDIATE WITH RIGOROUS PHYSICAL AND VOCAL PRECISION...FUSED WITH A CONTEMPORARY RELEVANCE.'
SUNDAY TRIBUNE
AOIBHINN GILROY AS ANNA, FOCUS THEATRE FLYER.
'ANNA CHRISTIE'
BY EUGENE O'NEILL, FOCUS THEATRE, DUBLIN 1998.
'PACKS SUCH A PUNCH! AN ABSORBING REVIVAL. HALLIGAN'S DIRECTION ACCURATELY TAKES THE PLAY'S THROBBING PULSE.
GERRY COLGAN, IRISH TIMES
'FLOURISHES OF PRAISE FOR BRINGING O'NEILL'S PLAY SO MUCH TO LIFE.'
PATRICK BRENNAN, THE EXAMINER
'THIS PRODUCTION IS PLAYED WITH COMPELLING ENERGY...BURKE IS MOST POWERFULLY PLAYED BY GER CAREY.'
BRUCE ARNOLD, IRISH INDEPENDENT
'THIS PRODUCTION WORKS...CAREY'S PERFORMANCE IS HIGHLY ENTERTAINING. AOIBHINN GILROY PLAYS ANNA WITH A FINE CLARITY.'
MARY CARR, DAILY MAIL
'INCREDIBLY MOVING AND UPLIFTING WITH WONDERFUL PERFORMANCES...THIS IS AN INSPIRED PIECE OF THEATRE SUPERBLY EXECUTED.'
AERTAL
BY EUGENE O'NEILL, FOCUS THEATRE, DUBLIN 1998.
'PACKS SUCH A PUNCH! AN ABSORBING REVIVAL. HALLIGAN'S DIRECTION ACCURATELY TAKES THE PLAY'S THROBBING PULSE.
GERRY COLGAN, IRISH TIMES
'FLOURISHES OF PRAISE FOR BRINGING O'NEILL'S PLAY SO MUCH TO LIFE.'
PATRICK BRENNAN, THE EXAMINER
'THIS PRODUCTION IS PLAYED WITH COMPELLING ENERGY...BURKE IS MOST POWERFULLY PLAYED BY GER CAREY.'
BRUCE ARNOLD, IRISH INDEPENDENT
'THIS PRODUCTION WORKS...CAREY'S PERFORMANCE IS HIGHLY ENTERTAINING. AOIBHINN GILROY PLAYS ANNA WITH A FINE CLARITY.'
MARY CARR, DAILY MAIL
'INCREDIBLY MOVING AND UPLIFTING WITH WONDERFUL PERFORMANCES...THIS IS AN INSPIRED PIECE OF THEATRE SUPERBLY EXECUTED.'
AERTAL
GROUP INCLUDES ACTORS KARL O' NEILL, CAÍTRIONA NÍ MHURCHU, LAINE MCGAW, GARY LILBURN, LAURA FORREST-HAY, TERRY BYRNE, BILLIE TRAYNOR, DERMOT ARRAGAN AND DESIGNER BLAITHÍN SHEERAN, PRODUCERS, THERESIA GUSCHELBAUER AND DAVID TEEVAN.
'AN IDEAL HUSBAND'
BY OSCAR WILDE
GALLOGLASS THEATRE COMPANY, NATIONAL TOUR, 1997.
'THE SHEER MODERNITY SHINES THROUGH, HOVERING ENGAGINGLY BETWEEN DRAWING ROOM THRILLER-FARCE AND PROFUNDIS. A DAMN PLEASURE TO APPLAUD.'
SUNDAY TIMES
'A MOST ELEGANT AND ENJOYABLE PRODUCTION.'
IRISH TIMES
BY OSCAR WILDE
GALLOGLASS THEATRE COMPANY, NATIONAL TOUR, 1997.
'THE SHEER MODERNITY SHINES THROUGH, HOVERING ENGAGINGLY BETWEEN DRAWING ROOM THRILLER-FARCE AND PROFUNDIS. A DAMN PLEASURE TO APPLAUD.'
SUNDAY TIMES
'A MOST ELEGANT AND ENJOYABLE PRODUCTION.'
IRISH TIMES
'MIRANDOLINA'
BY CARLO GOLDONI
GALLOGLASS THEATRE COMPANY, 1997.
'NON-STOP COMIC ACTION...ADAPTED BY LIAM HALLIGAN. THIS REVIVAL CLEARLY RESPECTS THE ORIGINAL. HE DIRECTS WITH NUMEROUS NEAT TOUCHES AND A SENSE OF THE PLAY'S ENDURING COMIC CONTENT.'
IRISH TIMES
BY CARLO GOLDONI
GALLOGLASS THEATRE COMPANY, 1997.
'NON-STOP COMIC ACTION...ADAPTED BY LIAM HALLIGAN. THIS REVIVAL CLEARLY RESPECTS THE ORIGINAL. HE DIRECTS WITH NUMEROUS NEAT TOUCHES AND A SENSE OF THE PLAY'S ENDURING COMIC CONTENT.'
IRISH TIMES
'THE CRACK AND THE WHIP'
BY COLIN TEEVAN
GALLOGLASS, NATIONAL TOUR, 1996.
'AN HILARIOUS NEW PLAY, A COMIC TALE OF ALL ENCOMPASSING GREED...AN EVENING OF GREAT ENTERTAINMENT.'
THE NATIONALIST
BY COLIN TEEVAN
GALLOGLASS, NATIONAL TOUR, 1996.
'AN HILARIOUS NEW PLAY, A COMIC TALE OF ALL ENCOMPASSING GREED...AN EVENING OF GREAT ENTERTAINMENT.'
THE NATIONALIST
'SMALL BOX PSYCHOSIS'
BY BARRY MCKINLEY
BEWLEY'S CAFÉ THEATRE DUBLIN
AND EDINBURGH FRINGE FESTIVAL 1996.
'BOXING CLEVER... A COMBINATION OF VERY FUNNY COMEDY AND OUTRAGEOUS CHARACTER STUDY, UNDER THE DIRECTION OF LIAM HALLIGAN IT IS AN EXTREMELY ENTERTAINING MIXTURE'
**** COLIN AFFLECK, THE SCOTSMAN
'THIS IS A VERY FUNNY PLAY AND LIKE ALL GOOD COMEDY, SOMETHING MORE. THE ACTORS ARE HILARIOUS AND DIRECTED BY LIAM HALLIGAN TO GOOD EFFECT.
GERRY COLGAN, IRISH TIMES
'IF YOU LIKE YOUR HUMOUR BLACK, YOUR CHARACTERISATION CLEVER AND YOUR DIALOGUE SHARP THEN THIS PLAY IS FOR YOU. ENTERTAINING AND LIVELY...A TOUCH OF MAD MAGIC.'
LINDA HIGGINS, EVENING HERALD
BY BARRY MCKINLEY
BEWLEY'S CAFÉ THEATRE DUBLIN
AND EDINBURGH FRINGE FESTIVAL 1996.
'BOXING CLEVER... A COMBINATION OF VERY FUNNY COMEDY AND OUTRAGEOUS CHARACTER STUDY, UNDER THE DIRECTION OF LIAM HALLIGAN IT IS AN EXTREMELY ENTERTAINING MIXTURE'
**** COLIN AFFLECK, THE SCOTSMAN
'THIS IS A VERY FUNNY PLAY AND LIKE ALL GOOD COMEDY, SOMETHING MORE. THE ACTORS ARE HILARIOUS AND DIRECTED BY LIAM HALLIGAN TO GOOD EFFECT.
GERRY COLGAN, IRISH TIMES
'IF YOU LIKE YOUR HUMOUR BLACK, YOUR CHARACTERISATION CLEVER AND YOUR DIALOGUE SHARP THEN THIS PLAY IS FOR YOU. ENTERTAINING AND LIVELY...A TOUCH OF MAD MAGIC.'
LINDA HIGGINS, EVENING HERALD