Tribes (play)
Tribes is a play by English playwright Nina Raine that had its world premiere in 2010 at London's Royal Court Theatre and its North American premiere Off-Broadway at the Barrow Street Theatre in 2012. The play won the 2012 Drama Desk Award for Outstanding Play. Nina Raine explained in a 2010 interview that the idea of writing the play came to her after she saw a documentary about a deaf couple who were expecting a child, they said that they hoped their child would be deaf, she said that it occurred to her that a family was a tribe, whose members wanted to pass on values and language to their children. She began to see that there were "tribes everywhere," in groups including individual families and religious communities, with their own rituals and hierarchies that are hard to understand by "outsiders."The play focuses on a comically dysfunctional Jewish British family, made up of the parents Beth and Christopher and three grown children living at home, Daniel and Billy, the last of whom is deaf, raised to read lips and speak but without knowledge of sign language.
When Billy meets Sylvia, a hearing woman born to deaf parents, now going deaf herself, his interaction with her reveals some of the languages and hierarchies of the family and the "extended family" of the deaf community. The play was first staged October 14-November 13, 2010 at the Royal Court Theatre in London, it was directed by Roger Michell and starred Jacob Casselden, Nina Markham, Michelle Terry, Stanley Townsend, Harry Treadaway, Phoebe Waller-Bridge. The play premiered Off-Broadway at the Barrow Street Theatre on March 4, 2012 and closed on January 20, 2013, having been extended twice. Directed by David Cromer, the cast starred Will Brill, Russell Harvard, Susan Pourfar, Gayle Rankin, Jeff Perry, Mare Winningham; the Scenic Design was by Scott Pask, costumes by Tristan Raines, lights by Keith Parham, sound by Daniel Kluger and projections by Jeff Sugg. The production had a West Coast transfer after closing in New York and was remounted at the Centre Theater Group, The Mark Taper Forum, Los Angeles, for a limited run from February 2013 through April 2013, with most of the original cast.
It ran at the La Jolla Playhouse, San Diego, California, in June and July 2013 directed by David Cromer. The play ran at the Guthrie Theater in Minneapolis, from October through November 2013, directed by Wendy C. Goldberg, it was produced by Artists Repertory Theatre in Portland, Oregon in February 2015. The Canadian debut was produced by Theatrefront in association with Canadian Stage and Theatre Aquarius with shows at Toronto's Berkeley Street Theatre; the cast included Stephen Drabicki, Patricia Fagan, Nancy Palk, Joseph Ziegler, Holly Lewis and Dylan Trowbridge, directed by Daryl Cloran. Critical reviews for both productions of the play were overwhelmingly positive, with the Royal Court Theatre website listing four-star reviews by critics including those for the Sunday Express, Daily Telegraph, Sunday Telegraph, Financial Times and others; the London production earned an Olivier Award nomination for Best Play. and the same kind of positive reviews for the New York production, including a "critic's pick" review from The New York Times.
In The New York Times review, Ben Brantley wrote: "A smart and beautifully acted new play that asks us to hear how we hear, in silence as well as in speech... I’ve encountered a cast that finds as many far-reaching shades of meaning in tones of voice as this one does; every member of the ensemble is spot-on.” The play received six Lucille Lortel Award nominations, four Outer Critics Circle nominations, two Drama League Award nominations, winning the following awards: 2012 Drama Desk Award for Outstanding Play 2012 New York Drama Critics Circle Award, Best Foreign Play 2012 Obie Award, Susan Pourfar 2012 Off-Broadway Alliance Award – Best Play Listing, Internet Off-Broadway database Opening night video for Barrow Street Theater production, March 2010 Trailer for Royal Court Theatre production, 2010, YouTube
John Osborne
John James Osborne was an English playwright and actor, known for his excoriating prose and intense critical stance towards established social and political norms. The success of his 1956 play Look Back in Anger transformed English theatre. In a productive life of more than 40 years, Osborne explored many themes and genres, writing for stage, film and TV, his personal life was iconoclastic. He was notorious for the ornate violence of his language, not only on behalf of the political causes he supported but against his own family, including his wives and children. Osborne was one of the first writers to address Britain's purpose in the post-imperial age. During his peak, he helped make contempt an acceptable and now cliched onstage emotion, argued for the cleansing wisdom of bad behaviour and bad taste, combined unsparing truthfulness with devastating wit. Osborne was born on 12 December 1929 in London, the son of Thomas Godfrey Osborne, a commercial artist and advertising copywriter of South Welsh extraction, Nellie Beatrice, a Cockney barmaid.
In 1935 the family moved to the north Surrey suburb of Stoneleigh, near Ewell, in search of a better life, though Osborne would regard it as a cultural desert – a schoolfriend declared subsequently that "he thought were a lot of dull, uninteresting people, a lot of us were. He was right." He adored his father and hated his mother, who he wrote taught him "The fatality of hatred … She is my disease, an invitation to my sick room," and described her as "hypocritical, self-absorbed and indifferent."Thomas Osborne died in 1941, leaving the young boy an insurance settlement which he used to finance a private education at Belmont College, a minor public school in Devon. He entered the school in 1943, but was expelled in the summer term of 1945, after whacking the headmaster, who had struck him for listening to a forbidden broadcast by Frank Sinatra. A School Certificate was the only formal qualification he acquired, but he possessed a native intelligence. After school, Osborne went home to his mother in London and tried trade journalism.
A job tutoring a touring company of junior actors introduced him to the theatre. He soon became involved as a stage manager and acting, joining Anthony Creighton's provincial touring company. Osborne tried his hand at writing plays, co-writing his first, The Devil Inside Him, with his mentor Stella Linden, who directed it at the Theatre Royal in Huddersfield in 1950. In June 1951 he married Pamela Lane, his second play Personal Enemy was written with Anthony Creighton. Personal Enemy was staged in regional theatres. Written in 17 days in a deck chair on Morecambe pier where Osborne was performing in a creaky rep show called Seagulls over Sorrento, Look Back in Anger was autobiographical, based on his time living, arguing, with Pamela Lane in cramped accommodation in Derby while she cuckolded him with a local dentist, it was returned with great rapidity. In his autobiography, Osborne writes: "The speed with which it had been returned was not surprising, but its aggressive dispatch did give me a kind of relief.
It was like being grasped at the upper arm by a testy policeman and told to move on". It was sent to the newly formed English Stage Company at London's Royal Court Theatre. Formed by actor-manager and artistic director George Devine, the company had seen its first three productions flop and urgently needed a success if it was to survive. Devine was prepared to gamble on this play because he saw in it a ferocious and scowling articulation of a new post-war spirit. Osborne was living on a leaky houseboat on the River Thames at the time with Creighton, stewing up nettles from the riverbank to eat. So keen was Devine to contact Osborne that he rowed out to the boat to tell him he would like to make the play the fourth production to enter repertory; the play starred Kenneth Haigh, Mary Ure and Alan Bates. It was George Fearon, a part-time press officer at the theatre, who invented the phrase "angry young man". Fearon told Osborne that he feared it would be impossible to market. In 1993, a year before his death, Osborne wrote that the opening night was "an occasion I only remember, but with more accuracy than those who subsequently claimed to have been present and, if they are to be believed, would have filled the theatre several times over".
Reviews were mixed. Most of the critics who attended the first night felt it was a failure, it looked as if the English Stage Company was going to go into liquidation. Milton Shulman in the Evening Standard, for example, called the play "a failure" and "a self-pitying snivel", but the following Sunday, Kenneth Tynan of The Observer – the most influential critic of the day – praised it to the skies:'I could not love anyone who did not wish to see Look Back in Anger,' he wrote, "It is the best young play of its decade". Harold Hobson of The Sunday Times called Osborne "a writer of outstanding promise". During production, the married Osborne began a relationship with Mary Ure, would divorce his wife, Pamela Lane, to marry Ure in 1957; the play became an enormous commercial success, transferring to the West End and to Broadway, touring to Moscow and a film version was released in May 1959 with Richard Burton and Mary Ure in the leading roles. The play turned Osborne from a struggling playwright into a wealthy and famous angry young man and won him the Evening Standard Drama Award as the most promising playwright of 1956.
When he first saw Look Back in Anger
Hamlet
The Tragedy of Hamlet, Prince of Denmark shortened to Hamlet, is a tragedy written by William Shakespeare sometime between 1599 and 1602. Set in Denmark, the play depicts Prince Hamlet and his revenge against his uncle, who has murdered Hamlet's father in order to seize his throne and marry Hamlet's mother. Hamlet is Shakespeare's longest play and is considered among the most powerful and influential works of world literature, with a story capable of "seemingly endless retelling and adaptation by others", it was one of Shakespeare's most popular works during his lifetime and still ranks among his most performed, topping the performance list of the Royal Shakespeare Company and its predecessors in Stratford-upon-Avon since 1879. It has inspired many other writers—from Johann Wolfgang von Goethe and Charles Dickens to James Joyce and Iris Murdoch—and has been described as "the world's most filmed story after Cinderella"; the story of Shakespeare's Hamlet was derived from the legend of Amleth, preserved by 13th-century chronicler Saxo Grammaticus in his Gesta Danorum, as subsequently retold by the 16th-century scholar François de Belleforest.
Shakespeare may have drawn on an earlier Elizabethan play known today as the Ur-Hamlet, though some scholars believe Shakespeare wrote the Ur-Hamlet revising it to create the version of Hamlet we now have. He certainly wrote his version of the title role for his fellow actor, Richard Burbage, the leading tragedian of Shakespeare's time. In the 400 years since its inception, the role has been performed by numerous acclaimed actors in each successive century. Three different early versions of the play are extant: the First Quarto; each version includes entire scenes missing from the others. The play's structure and depth of characterisation have inspired much critical scrutiny. One such example is the centuries-old debate about Hamlet's hesitation to kill his uncle, which some see as a plot device to prolong the action but which others argue is a dramatisation of the complex philosophical and ethical issues that surround cold-blooded murder, calculated revenge, thwarted desire. More psychoanalytic critics have examined Hamlet's unconscious desires, while feminist critics have re-evaluated and attempted to rehabilitate the maligned characters of Ophelia and Gertrude.
The protagonist of Hamlet is Prince Hamlet of Denmark, son of the deceased King Hamlet, nephew of King Claudius, his father's brother and successor. Claudius hastily married King Hamlet's widow, Hamlet's mother, took the throne for himself. Denmark has a long-standing feud with neighbouring Norway, in which King Hamlet slew King Fortinbras of Norway in a battle some years ago. Although Denmark defeated Norway and the Norwegian throne fell to King Fortinbras's infirm brother, Denmark fears that an invasion led by the dead Norwegian king's son, Prince Fortinbras, is imminent. On a cold night on the ramparts of Elsinore, the Danish royal castle, the sentries Bernardo and Marcellus discuss a ghost resembling the late King Hamlet which they have seen, bring Prince Hamlet's friend Horatio as a witness. After the ghost appears again, the three vow to tell Prince Hamlet; as the court gathers the next day, while King Claudius and Queen Gertrude discuss affairs of state with their elderly adviser Polonius, Hamlet looks on glumly.
During the court, Claudius grants permission for Polonius's son Laertes to return to school in France and sends envoys to inform the King of Norway about Fortinbras. Claudius scolds Hamlet for continuing to grieve over his father and forbids him to return to his schooling in Wittenberg. After the court exits, Hamlet despairs of his mother's hasty remarriage. Learning of the ghost from Horatio, Hamlet resolves to see it himself; as Polonius's son Laertes prepares to depart for a visit to France, Polonius gives him contradictory advice that culminates in the ironic maxim "to thine own self be true." Polonius's daughter, admits her interest in Hamlet, but Laertes warns her against seeking the prince's attention, Polonius orders her to reject his advances. That night on the rampart, the ghost appears to Hamlet, telling the prince that he was murdered by Claudius and demanding that Hamlet avenge him. Hamlet agrees, the ghost vanishes; the prince confides to Horatio and the sentries that from now on he plans to "put an antic disposition on", or act as though he has gone mad, forces them to swear to keep his plans for revenge secret.
However, he remains uncertain of the ghost's reliability. Soon thereafter, Ophelia rushes to her father, telling him that Hamlet arrived at her door the prior night half-undressed and behaving erratically. Polonius resolves to inform Claudius and Gertrude; as he enters to do so, the king and queen finish welcoming Rosencrantz and Guildenstern, two student acquaintances of Hamlet, to Elsinore. The royal couple has requested that the students investigate the cause of Hamlet's mood and behaviour. Additional news requires that Polonius wait to be heard: messengers from Norway inform Claudius that the King of Norway has rebuked Prince Fortinbras for attempting to re-fight his father's battles; the forces that Fortinbras had conscripted to march against Denmark will instead be sent against Poland, though they will pass through Danish territory to get there. Polonius tells Claudius and Gertrude his theory regarding Hamlet's behaviour and speaks to Hamlet in a hall of the castle to try to uncover more information.
Hamlet feigns madness but subtly insults Polonius all the while. When Rosencrantz and Guildenstern arrive, Hamlet greets his "friends" warm
Dublin
Dublin is the capital and largest city of Ireland. It is on the east coast of Ireland, in the province of Leinster, at the mouth of the River Liffey, is bordered on the south by the Wicklow Mountains, it has an urban area population of 1,173,179, while the population of the Dublin Region, as of 2016, was 1,347,359, the population of the Greater Dublin area was 1,904,806. There is archaeological debate regarding where Dublin was established by the Gaels in or before the 7th century AD. Expanded as a Viking settlement, the Kingdom of Dublin, the city became Ireland's principal settlement following the Norman invasion; the city expanded from the 17th century and was the second largest city in the British Empire before the Acts of Union in 1800. Following the partition of Ireland in 1922, Dublin became the capital of the Irish Free State renamed Ireland. Dublin is a historical and contemporary centre for education, the arts and industry; as of 2018 the city was listed by the Globalization and World Cities Research Network as a global city, with a ranking of "Alpha −", which places it amongst the top thirty cities in the world.
The name Dublin comes from the Irish word Dubhlinn, early Classical Irish Dubhlind/Duibhlind, from dubh meaning "black, dark", lind "pool", referring to a dark tidal pool. This tidal pool was located where the River Poddle entered the Liffey, on the site of the castle gardens at the rear of Dublin Castle. In Modern Irish the name is Duibhlinn, Irish rhymes from County Dublin show that in Dublin Leinster Irish it was pronounced Duílinn; the original pronunciation is preserved in the names for the city in other languages such as Old English Difelin, Old Norse Dyflin, modern Icelandic Dyflinn and modern Manx Divlyn as well as Welsh Dulyn. Other localities in Ireland bear the name Duibhlinn, variously anglicized as Devlin and Difflin. Scribes using the Gaelic script wrote bh with a dot over the b, rendering Duḃlinn or Duiḃlinn; those without knowledge of Irish omitted the dot. Variations on the name are found in traditionally Gaelic-speaking areas of Scotland, such as An Linne Dhubh, part of Loch Linnhe.
It is now thought that the Viking settlement was preceded by a Christian ecclesiastical settlement known as Duibhlinn, from which Dyflin took its name. Beginning in the 9th and 10th century, there were two settlements; the Viking settlement of about 841, a Gaelic settlement, Áth Cliath further up river, at the present day Father Mathew Bridge, at the bottom of Church Street. Baile Átha Cliath, meaning "town of the hurdled ford", is the common name for the city in modern Irish. Áth Cliath is a place name referring to a fording point of the River Liffey near Father Mathew Bridge. Baile Átha Cliath was an early Christian monastery, believed to have been in the area of Aungier Street occupied by Whitefriar Street Carmelite Church. There are other towns of the same name, such as Àth Cliath in East Ayrshire, Anglicised as Hurlford; the area of Dublin Bay has been inhabited by humans since prehistoric times, but the writings of Ptolemy in about AD 140 provide the earliest reference to a settlement there.
He called it Eblana polis. Dublin celebrated its'official' millennium in 1988, meaning the Irish government recognised 988 as the year in which the city was settled and that this first settlement would become the city of Dublin, it is now thought the Viking settlement of about 841 was preceded by a Christian ecclesiastical settlement known as Duibhlinn, from which Dyflin took its name. Beginning in the 9th and 10th century, there were two settlements which became the modern Dublin; the subsequent Scandinavian settlement centred on the River Poddle, a tributary of the Liffey in an area now known as Wood Quay. The Dubhlinn was a pool on the lowest stretch of the Poddle, used to moor ships; this pool was fully infilled during the early 18th century, as the city grew. The Dubhlinn lay where the Castle Garden is now located, opposite the Chester Beatty Library within Dublin Castle. Táin Bó Cuailgne refers to Dublind rissa ratter Áth Cliath, meaning "Dublin, called Ath Cliath". Dublin was established as a Viking settlement in the 10th century and, despite a number of attacks by the native Irish, it remained under Viking control until the Norman invasion of Ireland was launched from Wales in 1169.
It was upon the death of Muirchertach Mac Lochlainn in early 1166 that Ruaidrí Ua Conchobair, King of Connacht, proceeded to Dublin and was inaugurated King of Ireland without opposition. According to some historians, part of the city's early economic growth is attributed to a trade in slaves. Slavery in Ireland and Dublin reached its pinnacle in the 10th centuries. Prisoners from slave raids and kidnappings, which captured men and children, brought revenue to the Gaelic Irish Sea raiders, as well as to the Vikings who had initiated the practice; the victims came from Wales, England and beyond. The King of Leinster, Diarmait Mac Murchada, after his exile by Ruaidhrí, enlisted the help of Strongbow, the Earl of Pembroke, to conquer Dublin. Following Mac Murrough's death, Strongbow declared himself King of Leinster after gaining control of the city. In response to Strongbow's successful invasion, King Henry II of England affirmed his ultimate sovereignty by mou
The Snapper (novel)
The Snapper is a novel by Irish writer Roddy Doyle and the second novel in The Barrytown Trilogy. The plot revolves around unmarried Sharon Rabbitte's pregnancy, the unexpected effects this has on her conservative, working class Dublin family. In the Rabbite household, unwed motherhood isn't the disaster; when twenty-year-old Sharon informs her father, Jimmy Sr. and mother, Veronica that she's "up the pole", they aren't thrilled, but there's no display of histrionics. After asking who the father is, Jimmy Sr. invites his daughter out to the local pub for a drink. Sharon's friends are as interested as her family in the father's identity, but she resolutely keeps mum about the truth until an event in the neighborhood brings it into the open, it turns out that the father was her friend Yvonne's father George Burgess, who took advantage of her while she was drunk. Sharon tells everyone that it was a Spanish sailor, to avoid the embarrassment and the shame of everybody knowing; however most of the town believe the truth.
She is criticised and made fun of because of Burgess being the father. Because of the incident, Burgess runs away from home, Sharon quits her job as a shelf stacker; the Snapper was made into a film directed by Stephen Frears and starring Tina Kellegher and Colm Meaney
Crow Street Theatre
Crow Street Theatre was a theatre in Dublin, Ireland opened in 1758 by the actor Spranger Barry. From 1788 until 1818 it was a patent theatre; the actor Spranger Barry, born in Dublin and appearing in London from 1746, induced the London-born actor Henry Woodward, who had saved £6,000, to participate in his project to build a theatre in Dublin. Charles Macklin participated at an early stage, but soon withdrew. Barry and Woodward moved to Dublin, the Crow Street Theatre opened in October 1758, it struggled as a rival to the Smock Alley Theatre. In 1760 Barry and Woodward opened a theatre in the Theatre Royal. By 1762 Woodward had lost half his savings. Barry continued for a few more years also returned to London. Henry Mossop, manager of Smock Alley Theatre since 1760, took over Crow Street Theatre in 1767, but resigned the theatre in 1770. In 1782 the actor Richard Daly became owner of the theatre, in 1786, having obtained a patent from the Crown, he opened Crow Street Theatre in 1788 as the Theatre Royal, a patent theatre.
£ 12,000 had been spent on decoration. It was profitable for a while, but suffered from the opening of Astley's Amphitheatre. Frederick Edward Jones leased the theatre from Daly, spent £1200 on renovating the house, decorated by Marinari and Zaffarini, it was opened in 1796, but closed when martial law was declared, relating to the Irish Rebellion of 1798. Jones obtained a new royal patent in 1798, spent a further £5000 on the theatre, but in the political climate it had to close in 1803; the theatre was wrecked in a riot of 1814. Jones attributed his unpopularity to his being active in politics, his application in 1818 for renewal of the patent was refused, being granted instead to Henry Harris, a proprietor of Covent Garden Theatre. The years of disruption had been financially detrimental, he was imprisoned for debt. During the 1819–20 season the Crow Street Theatre did not open regularly; the theatre was rented for a short period and opened as a circus, was abandoned. In 1836 the Apothecaries' Hall Company bought part of the site, a medical school was built
An Grianán Theatre
An Grianán Theatre is the largest theatre in County Donegal. Located in Letterkenny's Port Road district, its current Director is Patricia McBride; the theatre was named after Grianán of Aileach, a prehistoric ring fort located in Burt believed to date back to 1700 BCE. With a seating capacity of 383, the theatre provides a range of programming including drama, music and family shows as well as workshops and classes, it is used annually as a festival venue, including for the Earagail Arts Festival, has twice hosted Fleadh Cheoil na hÉireann. It is a main partner of the Earagail Arts Festival, which takes place each year in July, the Irish Aerial Dance Fest which takes place each June and the Letterkenny Trad Week which takes places each January. In 1995, Labour politician Seán Maloney advised the Minister for the Arts and the Gaeltacht Michael D. Higgins to view a site in Letterkenny in exchange for a lift to a Labour Party function in Donegal. Higgins visited the Rectory Field, declared it the best site for a theatre he had seen and approved a £1.5 million grant the following February for what would become An Grianán Theatre.
An Grianán first opened its doors on Monday 4 October 1999 and had its official opening that year on 12 November. Magic of the Musicals was the first show performed on the An Grianán stage, it hosted Fleadh Cheoil na hÉireann in the summers of 2005 and 2006. It hosted the Pan Celtic Festival in 2007. On Saturday 12 May 2007, a Rathmullan based graphic design studio picked up the 2007 European Design Award in Athens, Greece. A jury of Europe's top design critics selected the studio's variable design for An Grianán Theatre from a pool of work by many other top European designers. In 2015 it won an award for its Disability Access In 2013 it won an award as the IMRO Ulster Music Venue of The Year MusicAn Grianán has attracted a number of well-known musicians and comedians in recent years; the Frames play there on a regular basis. The Letterkenny Trad Week, which took place in January 2015, featured a number of artists such as Maura O’Connell and Karan Casey, Paddy Glackin and John Doyle. Scottish singer Isla Grant made a return to Ireland in February 2015 with her tour, playing in An Grianán on the 10th.
Back in 2005, Sharon Shannon played in An Grianán. In 2000, An Grianán was the venue for the world premiere of the new Irish musical Caisleain Oir; the entire run of performances was sold out and the production company restaged it the following year, again to packed houses. The musical is based on the Irish novel of the same name but it is in the English language. Again in 2005, another production of the musical was a complete sellout. Below is a list of other notable bands and musicians who have performed at An Grianán:Albert Niland Sharon Shannon Jack L ComedyArdal O’Hanlon brought his stand-up act to An Grianán in May 2012. Neil Delamare has performed there with his show The Fresh Prince of Delamare. Other comedians to perform at the venue have included: Drama and danceSome drama or dance acts that performed in 2014: Ireland's most acclaimed dance company, Fabulous Beast came to An Grianán in September 2014 with their international hit Rian UnPlugged; the Irish Arial Dance Fest provides performances for three weeks each June.
Below is a list of notable dramas and dances which were performed at An Grianán in 2006:National and internationalKnots by CoisCeim Dance Theatre Like Watching Paint Dry by Ursula Mawson-Raffalt and Anthony J Faulder-Mawson I Miss Communism by Inez Wurth and Mark Soper Death of a Salesman by Arthur Miller – Local12 Angry Men performed by Lifford Players Ay Carmela by José Sanchis Sinisterra in association with Wink Productions Public facilitiesAn Grianán can be used as a corporate venue, offering advanced technical and catering facilities. In addition to this, a full range of projection equipment is available for use; the eatery café is open all day, transforms into a bar on show nights. There are a variety of options on the menu, whether you’re looking for just a tea or coffee, or something more substantial. There is a free car park to the rear of the theatre. There are full facilities for people with disabilities including designated seating in the auditorium, a lift and specially adapted WC.
There is an inductive loop hearing system. There is spacious parking to the rear of the building. Private facilitiesThe backstage area has a number of facilities for visiting performers including three dressing rooms, private bathrooms and a green room. There is a framed T-shirt in the green room declaring it ‘the best room in Ireland’ signed by Oscar-winning songwriter Glen Hansard of The Frames. There is a costume department that can be found through a series of doors off the downstairs foyer that has a number of props and costumes from previous shows. There are a number of workshop areas backstage and off the foyer downstairs. A mirror may be found on the right as one heads from the green room toward the stage; the stage is entered through a door from the left-hand side facing the audience. The foyers and public galleries are used as an exhibition space. Recent exhibits are listed below:Some recent ones include: “Ephemera an exhibition by Robert Clarke”, “Fairytale Fantasies with Samantha Robinson” and “serene by Katriona Dempsey and Valerie Würmli”.13 March saw the official opening of the Names Will Never Hurt Me exhibition put together by members of the LOFT LK.
The exhibition was run in
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