Dublin Street Carnival
Shane MacGowan & The Popes
A Love Like That
The Sanctuary Lamp
Observe The Sons
Rat Pack
A Skull in Connemara
You Can’t Take It With You
Canned Heat
Pumpgirl
Someone Who’ll Watch Over Me
Midnight Court
The Life Of Galilieo
Fool For Love
Ring Round The Moon
Midsummer Galway
The Image You Missed
Lone Star
Summer
The Great Hunger
The Winter’s Tale
The Blue Macushla
Reviewing The Revolution
The Devil’s Disciple
Hotel Casanova
Observe The Sons of Ulster
Beckett Directs Beckett
Endgame
The Train
Vernon God Little
Jimmy Blizzard
Nightshade
Mr Joyce is Leaving Paris
The Shadow of Gunman
Finbar Wright
The Rise and Fall of the City of Mahagonny
Too Late for Logic
Story Time
Rise Up Lovely Sweeney
The Dead School
Not I
Tagann Godot
Sensations
The Nina in Me
Lon Rinn An Chairn
Famished Castle
Rosencrantz and Guildenstern Are Dead
Chas & Dave
The Death and Resurrection of Mr. Roche
Glengarry Glen Ross
A Thief at Christmas
Night and Day
The Hostage
Canaries
St. Stephen’s Green or The Generous Lovers
The PIllowman
Halloween
Execution
Souper Sullivan
Scenes from an Album
Drums of Father Ned
Faith Healer
Arms and the man
Dancing At Lughnasa
All The Way Back
Biodiversity
Biodiversity 2006
Mrs Sweeney
Malone Dies
100 Book Covers to fight illiteracy
100 artists. 28 countries. 100 classic book covers turned into posters to support the fight against illiteracy. ‘Malone Dies’ was designed for this international collaborative project initiated by Studio Beshart in Antwerp. Exhibition and official release on September 8th, 2012.
www.doedemee.be
Your Personal Life-Support System
The Cherry Orchard
Happy Days
The Field
In the days when the A2 poster was the essential, sometimes the only, tool in the marketing campaign for a new production, its appearance in a shop window, a public house or in triplicate on a street hoarding always gave us that frisson that an opening was imminent, and that our play would surely take the world by storm. And sometimes it did and more often it didn’t. What we asked from a poster – and which gifted graphic artists like Brendan Foreman regularly delivered – was three things: that the image would grab your attention; that it give you a flavour of the story; and that it imparted the practical information you need to attend the event. And, as it represented the first idea or impression an audience would get of our intentions, we agonised endlessly over what was being conveyed. The poster for The Field did everything we asked of it handsomely. The face of the Bull McCabe staring down out of a lowering sky certainly grabbed the attention as a forceful image and the sombre earthen tones of the landscape gave us the intimation of the ultimate crime perpetrated in the ruthless pursuit of land. And those telegraph poles, replicated in the actual stage design, remind us that these dark deeds belong, not to some blood soaked medieval past, but to the middle decades of the century in which this great seminal Irish play was written.
Ben Barnes