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November 2010 // FREE //

with... Storm Chasers Matt Berry Moustaches Donal Skehan Dads






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contents 74

JU˜TXIBU˜T JOTJEFUIBU DPVOUT 8 Roadmap Popping caps and biting pencils

62 Barfly So W.C.

14 Threads What ballers wear in Hollyweed

64 Gastro Eating the face off Exchequer Street

16 Welcome To The Dollhouse Jesus beads! 22 Storm Chasers More Tangle Twisters than Helen Hunt’s Twister 28 National Campaign For The Arts Letter be 32 Listings Lists & ting

66 Bitesize Like a box of Sunmaid Raisins, except not made of elderly people 72 Audio Listening to: Brian Emo. 74 Print Spot the font 76 Film You wouldn’t steal a granny. You wouldn’t steal a LUAS. Don’t steal a cinema.

56 Babes and Newspapers Father’s day already 58 Matt Berry I went to the padre to confess, ended up washing my arse in the font.

DSFEJUT XIFSF DSFEJU˜TEVF GJSTU UIJOHT GJSTU Wiping the considerable egg off our collective faces this month, we would like first to apologize to anybody justifiably offended by our use of the word ‘knacker’ in descripion of a bunch of upcoming boxing kids last month. Class consciousness is something endemic in the collective psyche of Dublin. Culchie, skanger, D4, pikey, and foreigner are nouns most Dubliners use on a daily basis, from readers and non-readers within and out of each category - it’s perhaps only when one writes a word that its potency is realized. Having lived in both Dublin City Council affordable housing (i.e. epochally-outdated and offensive bedsits) and Celtic-Tiger urbansprawl height semi-detacheds, thrown bangers at cats, set fire to wheely bins on DART-line beaches, taught in drug rehabilitation centres and in Jesuit-run private schools, trying to understand the extent that class is woven into the fabric of one’s own person is a familiar problem. The notion that tribalism will ever be, or even should be transcended



within society is ludicrous, but certainly aggressive stereotyping of class can be a more individually injuring venture. At Totally Dublin we try and bridge the interests of a readership that are collective attendees of the theatres, pubs, boxing clubs and restaurants that we invariably end up bitching about every month. Sometimes we slag southsiders. Sometimes we slag hipsters. Sometimes we slag pyjama girls. Satire should take piss-take points out of a certain subculture’s excesses, and it’s ok for excessive tropes to be laughable. We do not intend to imply the dominance of anyone clique or class in Dublin over any other, and the clumsy use of written word our last issue is entirely regrettable. Not classy. On another note, we would like to also express our deep regret to anybody who spent the last month thinking it was only September, and we hope you enjoy this entirely flawless issue. Daniel Gray

Totally Dublin 56 Upper Leeson St. Dublin 4 (01) 687 0695

Food Editor Katie Gilroy 087 7551533

Publisher Stefan Hallenius (01) 687 0695 087 327 1732

Advertising Stefan Hallenius (01) 687 0695 087 327 1732

Editorial Director Peter Steen-Christensen (01) 687 0695

Distribution Kamil Zok

Editor and Web Editor Daniel Gray (01) 687 0695 Art Director Lauren Kavanagh (01) 687 0695

All advertising enquiries contact (01) 668 8185

Contributors Rosa Abbott Emma Brereton Conor Creighton Carl Cullinane Ollie Dowling Alan Farrell Peter Fingleton Orlando Fitzgerald Ciaran Gaynor Anna Hayes John Hyland Zoe Jellicoe Caomhan Keane Roisin Kiberd Ian Lamont Fuchsia Macaree Daniel Martin Karl McDonald Malcolm McGettigan Daragh McSheery Alan Moloney Alistan Munroe Oisín Murphy Paddy O’Mahoney Conor O’Toole Ari Up B.T. Wildebourne

Read more at Totally Dublin is a monthly HKM Media publication and is distributed from 500 selected distribution points. All rights reserved. No part of this publication may be reproduced in whole or part without the permission from the publishers. The views expressed in Totally Dublin are those of the respective contributors and are not necessarily shared by the magazine or its staff. The magazine welcomes ideas and new contributors but can assume no responsibility for unsolicited manuscripts, photographs or illustrations.

Totally Dublin ISSN 1649-511X

Cover image: L’Or by Malcolm McGettigan, styled by Alistan Munroe Contents image: Fuchsia Macaree

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roadmap words // ROSA ABBOTT and DANIEL GRAY


The last of a series of exhibitions celebrating Graphic Studio Dublin’s fiftieth anniversary, Home at Draiocht explores themes related to family, the home and that strange concept we call ‘a sense of belonging’. Whilst IMMA’s celebratory exhibition picked out highlight works from the Studio’s long and illustrious history, Draiocht’s exhibition focuses on current members and contemporary pieces. The result is that the prints on display are both cutting edge, and much more affordable - each and every print on display will be priced less than €250 a pop. Decent. With an extensive list of contributing artists, the collection will include prints of all varieties - etchings, lithographs, woodblocks, linocuts, you name it.* Amongst the standout works is Niamh Flanagan’s they nestled quietly in the trees, a bold and beautiful piece, deceptive in its simplicity. Flanagan and her peers are testament to Dublin’s increasingly strong print culture - and they are the modern day counterpart to the now legendary artists exhibiting over at IMMA. You can catch them at Draiocht between November 12 and January 22. *If all of those terms baffle you, you might also want to pop along to the printmaking workshop Draiocht are holding on the 21st - at thirty quid it’s as much of a steal as the artworks.


Any baby in the womb as long as Haunted Light, Dublin post-punk daddies Cap Pas Cap’s debut album, is bound to pop out like a vengeful mutant. We’re happy to announce this particular monster a vicious bitch baying for blood - Haunted Light is 36 minutes of sonic terrorism from a perhaps unsuspecting source. Obviously then, you need to buy it.




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roadmap words // ZOE JELLICOE and DANIEL GRAY


As you may have noticed, cycling in Dublin has become as popular as crisp sambos. The trend, it seems, favours the upright, Amsterdam-style bicycle, which are perfectly suited to the leisurely cyclist who would prefer not to have their elegant trouser suit covered in grease. Imported by Dutchman Philip de Roos, and his girlfriend, Joni, Bear Bikes sell luxury wicker baskets and wooden boxes specially designed for the really-too-beautiful Dublin climate, as well as charming waterproof basket covers to provide extra protection, and kitsch saddle caps. And for the cyclist who has it all, their coffee cup holder is particularly delightful – it allows you to, in the words of the Bear Bike website, “whiz past traffic without foregoing coffee habits”. Perfect. Alongside their clever accessories, Bear Bikes sell high-quality classic city bicycles for men and women, which are made in Amsterdam and then shipped over to Dublin. Their most unique bicycle has to be their delivery bike, which comes with a foldable bench and even has seatbelts – perfect for transporting your brood. Get on yer... yeah.


You wouldn’t believe how bad we need a parer right now. The gentlemanly Alex Synge send us a package of the most chewable pencils known to man this month, classic lead-filled yokes with the first two words most schoolkids learn on their first day in Junior Infants: Keep Sketch. The pencils made their way over from a pencil factory in Nottingham, England that was founded in 1913. “Their thinking was that a world war was coming and as a very high percentage of the pencils used in England were imported there would be a shortage,” Synge tells us. “Apart from the fact that the vast majority of the world’s population won’t have a clue what it means, I hope that the people that get it will like it.” If you get the joke, pop over to the Irish Design Shop and start spending your monthly stationery allowance. Just buy us a sharpener when you’re out please.




   sunday independent

Must end 20 November on the Abbey stage





In early October, the three mammies and baking babysitter who are the Peas + Pods Family Market are going strong, and are currently setting up for their Christmas market addition. The ethos behind Peas + Pods is to make the experience of shopping with your children a less nightmarish one, not only by bringing together small scale crafters and established retailers to set up high-quality stalls, but also by providing engaging activities for both children as well as for adults. For the young, there are storytelling and dance workshops, puppet shows, and something wonderful called “messy play”. For adults, there are pampering stations and guest speakers advising on birth and nutrition. You decide who’s gotten the better deal. Alongside the usual selection of clothes for babies and mammies, jewellery, and organic treatments, the stallholders at Peas + Pods do sell some truly unique merchandise: Seomra Cuddles, for example, create novelty beds for children. Whichever child now owns the Batman bed had better watch their back.


Intergalactic FM rose like a phoenix from the ashes of the legendary, but now defunct online radio station CBS (cybernetic broadcasting system). Devoid of advertising (they rely entirely on donations from its fanatical fan base), IFM is comprised four channels belting out tunes every waking minute of every day. Based in The Hague, the men at the helm of this veritable goldmine are the legendary I-F and his partner in crime Intergalactic Gary; two better tastemakers I challenge you to find. Trying to encompass the musical style of IFM is a thankless and frankly impossible task, but broadly speaking, the four stations kick up electro, acid, disco, hip-hop, techno, obscure Italian horror scores, funk, ghetto tech, jacking house and everything in between. While modern commercial radio trundles down its heinous musical path, the fine people at IFM strive to inundate your ears with an endless stream of gems. As I write this, I’m listening to a disco tune from 1981 by Nico Finedico called Porno Holocaust. If that doesn’t sound like a good time, then maybe this stations not for you. Decide for yourself at


We (literally) covered Movember in thick’tache depth last year, and this year’s awareness-raising is gaining mo-mentum as we write. A run-down for the uninitated: Movember is a month-long charity event during which men of all shapes, sizes, and facial growth grow out their lip-hair with the aim of promoting awareness of prostate cancer. Mo Bros and Sistas register their pledges on Movember. com, and the city plays host to a bunch of Mo Promo events to encourage par-



ticipants. The Movember Gala Parté, the final coming together of MoBros and MoSistas takes place in Tripod, Dublin on December 2nd, but before then you can pick up bargain trims at The Waldorf Barbers on Westmoreland St., t-shirts through ARK and Fresh Milk, or head down to the South William for reggae/ hip-hop duo The Nextman’s fundraiser on the 25th and show off your growth. Extra points for handlebars. Double extra points for twirls. Get growing. 60 TOTALLY DUBLIN


threads words // ROISÍN KIBERD


Denim has a proud tradition as the fabric of the working man. Oh you know him, he listens to Springsteen, drinks beer, eats beef cooked in beer batter, and operates heavy machinery in his spare time. True Lads might be a little thin on the ground these days, but you can indulge your macho pretensions by dressing the part in Billionaire Boy’s Club’s fantastically hip-hop quilted denim shirt. Like a Levi shirt thrown in a blender with a Barbour jacket, the oddly endearing garment does double duty as both shirt and outerwear, a working man’s classic and the chosen garb of landed gentry. Available from Harvey Nichols or


It’s around this time of year the big cosmetics houses start to plug their next blockbuster fragrance, planting the seeds of a thousand brainless, last-minute presents buys leading up to Christmas Eve. It can be hard sorting the Galliano Parlez-moi de d’Amour (fronted by Taylor Momsen) from the ‘Mysterious Girl Pour Femme’ (fronted by, er, Peter Andre); far better to go with something independently-produced. Renegade perfumer Christian Brosius broke with the stuffilyscented horde in 2003, opening his Williamsburg flagship called the CB I Hate Perfume Gallery. A library of bottled memories, it offers off-beat creations such as the paper-and-leather must of ‘In the Library’ or the eerie ‘New Doll’, a confection of shiny plastic. Each scent is obscure but familiar, and highly personal to the wearer. Inspired, strange and evocative, it’s what Mysterious Girls should really smell like.


Threads is feeling all blinged-out this month (must be the imminent release of Lil Wayne from Rikers Island), and what better way to get the look than with jewels by Han Cholo. The Los Angeles DJ-turned-designer is a favourite with Snoop Dogg and his gangsta ilk, who rely on him for tackilicious, tongue-incheek knuckledusters and chains. The Autumn/Winter line, entitled ‘Hollywood Forever’, features meat cleaver pendants and gilt dollar signs, Medusa heads and absurd owls in flight spread across chunky gold rings. Check out his work on the website, designed to work like a game of Space Invaders.


Though these days they’re best known for Flowerbomb, the perfume which launched a thousand alcopop-fuelled school disco hook-ups, Victor and Rolf remain important fashion innovators with an A/W 2010 line as avant-garde (and largely unwearable) as ever. Though we might pass on the sky-high shoulderpads and skirts sewn from men’s shirts, we’d love to give these boots a trial run, and as we’re certain the dramatically jagged soles would give good grip on city streets. Fuzzy, comforting and menacing all at once, they resemble something the White Witch might wear to go mountain hiking. Available at



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<*1(42* 949-* )411-4:8* photography // MALCOLM MCGETTIGAN stylist // ALISTAN MUNROE



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Credits Photographer: Malcolm Mc Gettigan Stylist: Alistan Munroe Hair: Gerard Mc Loughlin for Toni & Guy, Clarendon St. Make up: Gillian Rafferty, Photographer’s assistant: John Norton Models: Danielle & L’Or @ morgan Special thanks to Phil & Kas for the use of their house one Sunday in September.



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words // DANIEL GRAY pictures // FUCHSIA MACAREE In the grand Irish tradition, I’m talking about the weather with a pair of from-Adam strangers. These strangers, though, are particularly strange, and we have good reason for choosing the sky’s half-arsed spitting as conversation fodder. Derek and Brian are leaning against their very literally weather-beaten 1995 Toyota Hiace, the ‘Stormin Norman’, in Birr Village’s Tesco carpark, talking in the tones of shamans about their particular religion: storm-chasing. For a culture that expends a Beaufort10 amount of its social wind on bitching about Met Eireann’s forecasts being one raincloud short of a correct forecast, we really have it easy. We’re not tropical Malyasia. Clonmel gets flooded (again) and it gets three nights on the news. The mildest earthquake known to man shakes Co. Down and jiggles a protected dolmen’s monolithic west wing and it warrants editorial comment. Face it. We’re not in tornado country. ‘Now now, boy. You’d be surprised a the number a twisters hits our beautiful isle every spring,’ Brian Feagan, 46 years old, all North Face-hiking gear and improbable hipster beard, admonishes me. ‘Sure the most uproar of recent time for me and the youngfella here was catch-



ing the Co. Clare tornado couple a years ago,’ he continues, nodding his navy, and comically conical wooly hat at his fellow storm trooper, Derek Treacy, age 25, as he says ‘youngfella’. ‘Caught it on the Youtube, didn’t we, boy?’ ‘Sure as Jaysus. We were on our Saturday trail through Tipp, we were, when Brian got a text off one of his Met Eireann contacts saying there was like... terrible mad patterns over, like, Ennis, and we should direct auld Norman here to have a look around there. Sure as Jaysus, aren’t we driving on some sliproad off the N85 when from... from, like, the Jaysusin’ sky, there’s a snake. A... like... The wind, in like, how we saw it on the videos, snaking up into the clouds like a worm, right in front of us.’ It’s the first thing Derek, in a too-tight Aston Villa jersey, has muttered to us from underneath his moustache, preoccupied as he is by his Twister ice-lolly (the irony of which doesn’t seem lost on him). His eyes are animated like a slapped frog underneath his aquamarine-strength prescription glasses. ‘Trust it to be the day we don’t have the oul camera with us. But the youngfella, first time he’s been resourceful in his life...’

‘The what? Stuff off.’ ‘The first time the lad has the brains about him I ever saw, gets his mobile there out, gets the whole yoke on his phone camera.’ ‘I thought the quality’d be shockin, but Christ, stuck her on my mate’s computer and it was a thing of beauty.’ ‘Got the whole snake in it. Some lad on the Youtube said it looked like Twister, you know, the film like. Woke the youngfella up to what I was doing at last.’ Derek’s currently between jobs, and Brian is a long-term dole-crawler with an allergy to the strictures of daily labour, so they’re free as a kite on the Thursday Fuchsia and I take the Bus Eireann to Birr, Co. Offaly, their hometown. They’ve promised to take us out on their daily storm hunt and show us the ropes from Stormin’ Norman (with the forewarning that, given the time of year, we’ll be lucky with a bit of hail). Brian opens the Hiace’s boot door and reveals a rusty trove of unlikely looking equipment, their detection tools in the field. With particular pride, he pats what appears to be a Sky dish mounted on a Gateway PC tower. ‘The Doppler. Oh yesh. Yesh indeed. We use this to simulate DOWs, what

the Americans and Swiss and that use, to measure nearby storms, little Fujita* tornadoes and that. This whole thing’d go into a tornado and we’d still get the reading, pure as crystal himself.’ I don’t question the mechanics. ‘This here’s a ‘theadalite’** Derek got us from the building site...’ ‘Whisht, will ya!’ hushes Derek from the side of the van, hiding his glasses and posing awkwardly for Fuchsia’s, um, scientific field sketches, hamfistedly hiding some secret from us. ‘Feck that, no way that auld fella Tommy’ll be reading this up in Dublin sure. The youngfella was doing a bit a work for Tommy Galvin there on his apartment site, didn’t suit him a bit, early mornings, bit a weekend work and all, over in XXXXXX. One day, he gets pure sick of it, tells Tommy to go and lick the back of his bollix, quits the job all drama like. On his way back to the car back to town, didn’t he only spot the oul theadalite in the prefab getting his trackie top and stick it in his boot.’ I ask Derek what a nicked bit of building site paraphernalia can gleam from weather patterns. Standing now also with his head in the back of the van he explains: ››



‘Well, it’s trigonometry like. I was the boss of maths in school, and this is science what we do, pure science like. You get the angle of a twister, like, and this’ll track it for half a minute or something and you can get a proper reading of it. We’re the a squared, and the tornado’s the hypotenuse, you know. It’s not like the science on telly and National Geo and all. We could get seriously wrecked out here.’ We’re piling into Norman now, getting ready for our road trip, and I ask if the boys have got any war wounds from the storm trail. ‘Sure the van’s wrecked for one. And there’s not many evenings we get home and my Julia’s*** not drying out my clothes on the radiator,’ Brian, key in the ignition and hand on the choke. ‘I’ll tell you about my, like, near-death experience over in the U.S of A. before you go off later, if you’re lucky. But c’mere. We’re not like these Yahoos we meet on the weekends, at garages and that. These feckin’ Yahoos with their GPSes and their i-whathaveyiz, and that. The feckers have a whatsit on their phones...’ ‘An app, Brian.’ ‘These app yokes on their phones, like this feckin Storm Chasers app, you know, after the National Geographic show, that gives them all the forecasts and all that. They go out, they take videos, they think they’re living the mad life, and they haven’t a clue the arse-work me and him spend our week at. They don’t get the kick out of it we do, it’s like having a smoke instead of a cigar. Wasn’t it Julia who always said to me “the thrills in the wait”. Spends half a year pouring poxy water into muck, but the plant grows and isn’t it only ten times finer than the plant you’d buy in Tescos, all ready and trim for ya? Feck that, like.’ Derek nods assertively from Brian’s left, and turns to face us in the back of the van: ‘We know what a feckin cumulonimbus is, like.’ After a half an hour’s perhaps-toospeedy passage across the N52, we turn off into a ‘storm trap’ near Loughroe that is the boys’ favourite heavy-wind spot. On a weekday, they’ll hit wherever their forecasts tell them there is a particularly dense accumulation of wind or cloud patterns in the Offaly area and wait in hilly areas of high-exposure, various gleamed meteorological trinkets switched on and ready to record. There’s a false floor in the van of fast-food and garage-cafe debris which belies both a predilection for chilli-cheese chips and a serious amount of waiting around. Brian is driving like a man possessed, and their mutual excitement simmers throughout. I ask them if



they’re connected to the greater world of storm-chasing. ‘Sure it’s the time for the story, I spose,’ says Brian, eyes on the skies rather than the potholed-road. ‘Oklahoma. I know you think I’m a mad auld lad driving around feckin Laois on a Tuesday night in search of fierce winds, but you’ve never been to Oklahoma in spring. In 1985 I went over to America, me and Julia, to live with this pen-friend she’d made on Death Row, but who’d been cleared of the whole scéal he’d been accused of, though he was still a mad baldy bastard, covered in tattoos, and Jaysus, the zanch off his house. Anyway, he was in Rockford in Illinois, and we met a fella in the bar under his apartment who was on his way to Norman, in Illinois. Norman, like, what I named the Hiace after. He was going there for tornado season, it was like, the middle of April. I was talking to him for hours, and Julia, light a my life I can tell ya, says to me, sure, we’ll rent a car and follow him down. So we did, followed yer man Vince down to Norman, IL, sorted out a tidy house renting for a couple of weeks, her parents going NINETY back home cause they’d got some youngfella in to work her hours in the flower shop who was sweet murdering the hydrangeas she’d spent the year cultivatin’. They were getting proper into the stormhuntin’ over there then, it was like, proper money going into their SUVs and all. Met some of the top heads in America tornado intelligence, these lads who’d sell their houses in Colorado to stick a satellite on their shitey vans, so, obviously I fit right in.’ Derek points out a shortcut along a farm road they’d used a couple of weeks ago, and Brian spins the steering wheel like Damon Hill on speed. ‘Two weeks into it, Vince turns up on my door, like five in the morning, roaring



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  Project Arts Centre plays host to Irelandâ&#x20AC;&#x2122;s Meyer and Judy and hooked u Saturday 19 IJune National Concert Hall neigh most-travelled theatre company in the early â&#x20AC;&#x2DC;90s. We did a lot of Wednesday 16Sunny, JuneDublin-based â&#x201A;Ź25-55,from 8pm the Henry and writer/director together twenty years after their original se provi 12th Fergal to theRockâ&#x20AC;&#x2122;s 17th â&#x20AC;&#x2DC;melancholic April, welcoming thedate Gare I Mary was and Black Rescheduled with the tale of true love against and theythem, meetâ&#x2013; for the acting first time in Judy a cafĂŠwas in â&#x2013;  Alice Jago Olympia RTE Concert all oddsâ&#x20AC;&#x2122;, is a unique vision quite beautifully St Lazare Players with their double billOrchestra of realThen we moved awaylives. fromdo-itPari where they discuss eachTheatre otherâ&#x20AC;&#x2122;s natio ized. Shot in high-contrast black and white, Henry Whelanâ&#x20AC;&#x2122;s â&#x201A;Ź34, 7.30pm Beckett plays, The End and The Calmative. started doing our own work but ABG:3</B7=<732/9=B/0/@     

and Sunny imagines a complicated relationship Friday 18 June â&#x201A;ŹTBC, 8pm Once you go So Black, you never throu These plays are not related though are they Acted and directed by husband and wife company name. at a certain p >@=C2:G>@3A3<B  


    between an unemployed clown and his high-profile bomb. Bomb in and the good go backIt was tough but fascinat way b NoJago stranger toConor the dark daunting, seasoned two stone in weight! arenâ&#x20AC;&#x2122;t sequels? team, Lovett and Judy Hegarty it made sense to differentiate ou love interest who inhabit â&#x2013; very different worlds that Mary Black sense obviously. thespian Olwenoff FouĂŠrĂŠâ&#x20AC;&#x2122;s latest is role sees her take to the No, Then a year ago I worked on a different special project they are both completely char mode Rounding The Abbeyâ&#x20AC;&#x2122;s By Popular Demand Pallas Contemporary Projects something of a Lovett, The End has been asdespite the their formalise our own company. We tragically threaten to keepdescribed them apart, Island â&#x2013;  Popical Olympia Theatre stage as gem the sole survivor of welcome Sodome, a(Terminus) city secreted which cen-not from European presidency in France. IAll-Day was toge completely different plays. Theput only li season, which saw the and hidden in Dublinâ&#x20AC;&#x2122;s artistic landscape, exten best efforts. perfect introduction to Beckett â&#x20AC;&#x201C; we talked had used thatand name so an weadaptati becam turies before enjoys a utopian existence of joy, excess with a French director we did Pop Extravaganza Sophie Delila â&#x2013;  â&#x201A;Ź34, 7.30pm so welcome (The Sea Farer) return to the Abbey they both share an author and a location. T away from the This larger tourist haunts commercial latest short fromand Rock assembles an acthis n tothat the star of the the one-man shows, Conor stands Lazare Ireland. and orgies until terror deals one fatal and devastating Frenchon of two ofPlayers, Roddy Doyleâ&#x20AC;&#x2122;s books â&#x20AC;&#x201C; Paul Â&#x2014; Whelanâ&#x20AC;&#x2122;s Whelanâ&#x20AC;&#x2122;s Black ops and Peacock stages of some of its most talked-about entities populate city centre. Which isnâ&#x20AC;&#x2122;t its own feet however, so audience complished team that has undoubtedly contributed fend blow. In heritâ&#x20AC;&#x2122;s solo performance in the premiere and The Woman Who Walked into Doors. Ig Lovett. shows, is Little Gem, the winning debut 8pm â&#x201A;ŹFREE, to â&#x201A;Ź8, say that inaccessible, in award fact inworld the fish have to be 3pm familiar with Chekho to the filmâ&#x20AC;&#x2122;s positive reception onbowl the festival necessarily circuit. of a play by acclaimed Frenchman Laurent GaudĂŠ, that experience because I thought it was a fan up fo from actor/writer Elaine Murphy. Ever since its of Parisien Dublin city, itâ&#x20AC;&#x2122;s just past the little plastic diver, Turin Brakes â&#x2013;  You have quite a strong affiliatio chanteuse. Up the Compilation launch, featuring Here he discusses the filmâ&#x20AC;&#x2122;s depiction of a love less the play. FouĂŠrĂŠ rises from the settled ashes encased in salt, to opportunity and now, more and more, I want or costumes. much-raved-about appearance as part of the Fringe Th tucked away between Stoneybatter and Smithfield. Whelanâ&#x20AC;&#x2122;s escalier. Land Lovers, Yeh Deadlies, ordinary, and how they stumbled across lead actor First things first, canAyou tell us apiece little bit with thisBeckettâ&#x20AC;&#x2122;s work. Is there any reas relay her2008, account ofgo theslightly event. inbetweeness.â&#x20AC;? findexperience that a lot of the timehad when Ig in it has played to sold outâ&#x201A;Ź23, audiences EdHas theâ&#x20AC;&#x153;I new Dublin a sign If youâ&#x20AC;&#x2122;re willing to offprovocative road with8pm yourinof Paulo Braganca. re-co Groom and (honestly) Have you worked with Brian Frielâ&#x20AC;&#x2122;s plays i about the two plays coming up in Project other than admiration formuch his wo work, Sodome, My Love, translated into English by It was in Paris almost a producing? year ago FouĂŠrĂŠ I donâ&#x20AC;&#x2122;t recognise thewhen characters o inburgh, Londontake anda New York, snaring its scribe effecttheatre on what youâ&#x20AC;&#x2122;re city centre strolling, lookey-loo in this month, Chris Brown â&#x2013;  The worst brakes outside a much more. Upstairs. socia Yes, my first Brian Friel play was in 1966, a FouĂŠrĂŠ herself, notartists only poses questions about the hustumbled GaudĂŠâ&#x20AC;&#x2122;s Printed on the som Arts Centre â&#x20AC;&#x201C; The End and The Calmative? It across would be admira I wouldnâ&#x20AC;&#x2122;t meet them in200% my everyday lif some serious accolades ranging from the Fishamble Typically our work isabout a script. response to both where Australian Pat Foster and Jen Berean work to do with costumes and p The concept of clowns as the latest casualties of the Vicar Street but magnifies mankindâ&#x20AC;&#x2122;s Toyota Prius. the Abbey - The Loves Cass McGuire. H natio man inherent need random publication, the title ma do Little Gem, I think, the audience membe New Writing award theto 2009 Carol Tambor social structures of a(Sodome, given environm Theyâ&#x20AC;&#x2122;re short written bywith Samuel be big fans ofinof Beckett, questio havecondition opened a   

new exhibition coincide their to shoot black andno white simp recession isstories a to unique one. What made you settle cal on and Hilda May â&#x2013; â&#x201A;Ź56, 8.30pm one of the greatest acting experiences I hav to destroy all that he fears. French) intrigued her. Immediately she set abo themselves more in the characters, parti to cel Inweâ&#x20AC;&#x2122;ve response Best of that Edinburgh. bad for ayour woman as we landed Dublin we quickly international studio level. I also think it looks much Beckett and theyâ&#x20AC;&#x2122;re from same kindonly of as sooninteresting about what dos idearesidency. as Not the basis forthe film?who â&#x2013;  The Whelanâ&#x20AC;&#x2122;s Bruiser Brown makes Gordon â&#x20AC;&#x153;For me, the Sodome of this play represents aLegend state toof Luke ingwas a copy of the text, read inwalking one sitting an had playing Casimir init another Friel pl you see it all in one of the suburban theatre event theSo Ja wrote itwell she couldnâ&#x20AC;&#x2122;t benative arsed walking the city, through around Already established in MelIt goes back to that almost Fa I because actually wrote thetheir script while I was doing a researching period as when Beckett wrote First Love, we have in our repertoire, 3 or of consciousness which we have completely lost any without delay to put the piece into production Arguably Irelandâ&#x20AC;&#x2122;s greatest living playwright, Brian Kelly Aristocrats. We took that play to London a4 â&#x201A;ŹTBC, 8pm look popular. Civic in Tallaght.â&#x20AC;? horizons, no the library. talking to locals and the digging through images bourne, Foster and Berean vocabulary of in a call robbing clowns of their colo masters in .        

DIT.employ At one the stage I was working garde ,-! which is a started piece we also did In New plays, 10 of the last 11 Beckett connection When theappraise last survivor ofrecently. the ofFactory is wary ofAstranslations since â&#x20AC;&#x153;Every act tran Friel turned 80 January, celebrate his the latest in a long, long line Iri York, which it allnot sorts ofofof awa The Button Disappointingly an country bef â&#x20AC;&#x153;I last initially writing the piece ascity a vehicle to getearned a grasp on the workings ot architectural to how we undertraits. centre and a and lot oftothe people working there withAttempting   //0)**-  #1)" .* .! .*.# some         Sodome speaks toshe us, sheTheatre isme speaking to thehave descenis city anmy act ofalso interpretation. [GaudĂŠ] writes with finding their voice in monologue form I  ! " 

#$$% fact, as a theatre company we done weâ&#x20AC;&#x2122;ve done have been prose wor milestone the Gate are presentin the latter for myself,â&#x20AC;? tells when I meet her for tea in isnâ&#x20AC;&#x2122;t first time playing Andrey however, and its significant history. We were Brian Kennedy â&#x2013; birthday â&#x201A;Ź15, 7.30pm Imelda May tribute act. stand and utilize our built environs. In preparing me

were involved in the arts and looked like they !" # !$$ %!" dants of the people who eliminated her people. So it ing poetic simplicity. What was difficult was  -an -*   () .) *-! /-(*# ple lito what itAustralia istaken about this mode ofyear theatre tha Shinji Yama Abbey. â&#x20AC;&#x153;I had audition and IStability, was too lazy enough to beWere on a fantastically ing three ofThe his greatest works inprose succession: Faith Afterplay to early this with F their residency show, The Problem with National Concert Hall Tribute 10 Samuel Beckett pieces, pieces thatoften interesting distinction but Iinsight think you being satirical about th were better suited to other jobs. My writing

$%&'        National ofbetween Art & for Design touches on to a and whole load of College issues like ethnic cleansing tain this simplicity because thereplaywrights? are certain so attractive todoing emerging imagination to go get abeen new monologue. I Best had this idea a Annis by aand local historian that really helped us toth s their process has ideally positioned 01 *-'%  --!"

 # Healer, Afterplay The Yalta Game. known now Iâ&#x20AC;&#x2122;m it with Frances B P!NK â&#x2013; â&#x201A;Ź30-39.50, 8pm industry? involves taking something familiar and putting it in National College of Art & Design       werenâ&#x20AC;&#x2122;t actually written for the stage. The tradition in his prose writing of           and genocide, but primarily for me itcame represents a& state you can say very directly and ininform French National College Art Design College ofIof Art & Design â&#x20AC;&#x153;I was talking to Abisimply Spillane about 100 Thomas Street nese cinema script. The youngest character from that. Then understand the layers history that )-((-  2*%  ,-!* 2*( PCP and the IFSC-based Fire Station for theStoneybatterâ&#x20AC;&#x2122;s classic Philadelphia Here I context. Come IRDS think itâ&#x20AC;&#x2122;sof gentle satire. Weâ&#x20AC;&#x2122;re no aNational slightly different think thatâ&#x20AC;&#x2122;s where the The Gandhis â&#x2013; and www Abomination toThomas the human aboutâ&#x20AC;?.  Danc 


  two shows are aknow very good introduction to you being byfeatured an actor on 100 Street of consciousness that we nothing canâ&#x20AC;&#x2122;t say inpresented English, and vice versa.â&#x20AC;? 

own debut Punk Girls three acs  !% 2")-2 --  #3(  4! *-)*5 the opportu I had this idea for the grannyâ&#x20AC;&#x2122;s character. I started So yes, the city has certainly affected the wo     !"# Studios, allowing them to experience a cross section 100 Thomas Street 100 Thomas Street Dublin 8 clowns at anybody. I think the fact that idea of having menial jobs where ing at Lunasa he has also translated a working number of And how different is it doing the same part Whelanâ&#x20AC;&#x2122;s â&#x201A;Ź58.30, 63.20, 8pm race. been           Born inBeckettâ&#x20AC;&#x2122;s the and West of Ireland of Breton parents, FouĂŠrĂŠâ&#x20AC;&#x2122;s FouĂŠrĂŠ refers to a phobia orwe disinterest of of Irish prose. End has described Dublin monologues, and agreed that itâ&#x20AC;&#x2122;s output oa thinking about how8The I8giving was going to them haveing produced. of the city, the that recent trends by over-the-top characters who they stand-out visually came from. The clowns Dublin Chekhovâ&#x20AC;&#x2122;s plays into English, them abring new lease different actors? Dublin 8 her T: 01seismic-shifts 636 4347 â&#x201A;ŹTBC, 8pm â&#x20AC;&#x153;Funhouse Summer Car      fluency in French affords the freedom to splash in exploring European playwrights and the cre

$%&' $  $   % &   ter of getting the piece up and getting it industries. together in a play and thatâ&#x20AC;&#x2122;s how I came to write As a company, you use very little by Christopher Ricks, an international of boom and bust have wreaked. In the midst of all T: 01 636 4347 fame and money makes the clow are symbolic of artists in a way. When we started $%&'       of life.about Totally spoke to esteemed actor Niall Itâ&#x20AC;&#x2122;s greatcurrently because it keeps one fresh. Theyâ&#x20AC;&#x2122;r T:01 01636 636 4347 Zodiac Sessions â&#x2013; the T: 4347 Upstairs. Bellajane. nivalâ&#x20AC;?, ifwork Pat Sharp the    in mother. aDublin sea of endless literary possibilities, asWith opwaves setting the stage ofand places like you to dosay something really simple, withis no '  ( ) Is    it fair yourTheir also experiments w this to-ing and fro-ing, caught upwhole with the natural instinct to shooting theArtsdesk film last year the global financial ingactors orthetic. even effects. Was this afrien de scholar, as perfect introduction to Buggyposed about his role in the Afterplay, and his history wonderful and both of them are   

 to the majority of Irish actors who are confined and Germany alight. â&#x20AC;&#x153;There seems to be so lit Bruxelles twins turned up, this might be just three actors who can literally set up The real 1950s When I finally finished writing itso I itwas too old tonot built form inprovide the aftermath ofThereâ&#x20AC;&#x2122;s design, where pair to suss out what they had in store for usâ&#x20AC;Ś        humour. gen meltdown had just started seemed silly *&+  , was consciously made or is itlikely de ettâ&#x20AC;&#x2122;s work. Itâ&#x20AC;&#x2122;stoovery funny itâ&#x20AC;&#x2122;sor got the very with Frielâ&#x20AC;&#x2122;s works. important toroom, get onpeople with your to aFree, more restricting pool ofbut scripts and crossover and that is something that Ico-stars would l Ivan Ilic â&#x2013; 9pm less nightmarish. living are more Japanese cin play Amber andpaddling young Kay Lorraine â&#x20AC;&#x2DC;readâ&#x20AC;&#x2122; and reconfigure their enviro what they do, which isown in direct to comment on it buttoitplay was      a love story we wereoftenyour naturally you have to spend a lot of time to theatre work. Was it always her intention to exploit part of rectifyingâ&#x20AC;?. For now though, her focus tie in with the idea of â&#x20AC;&#x2DC;nothingne underbelly aswell. risk on charactersâ&#x20AC;&#x2122; you.â&#x20AC;? National Concert Hall Weekliy acoustic showcase such imagin and last thing I wanted, after spending so long ments? What canthe we expect from your new show? more selfish values. making and thatâ&#x20AC;&#x2122;s what we decided to concentrate ()**'  +++#   ! () #  ,,,#   ! () # her heritage in next few weeks at the Project Centre Can you usproduced a()**+ bit of regard? the background Itwork also new writers with aJap mw modern writing thethis thing, wasfor to of be inPallas itplay? myself, so I her percolates so much ofArts Beckettâ&#x20AC;&#x2122;s Yes, our specifically focuses upon how 65s for Burma â&#x2013;  provides â&#x201A;Ź12, 1.05pm Wetell have allend. new works thethe on inbloody the â&#x20AC;&#x153;It was something that happened organically. I wish ing what mayideas seem like one small step on the Well the play has borrowed two characters taken Afterplay was written in 2002, why do you vehicle to present their voice. â&#x20AC;&#x153;You can period to ri left it in Paul Meadeâ&#x20AC;&#x2122;s hands.â&#x20AC;? understand of â&#x20AC;&#x2DC;useâ&#x20AC;&#x2122; and â&#x20AC;&#x2DC;misuseâ&#x20AC;&#x2122; in term show over the past month whilst we have been in National Concert Hall Lunchtime solo piano recital Can you tell us a bit about the background I suppose ouranphilosophy in thatg You had interesting, diverse that Idifferent had done so earlier. Iâ&#x20AC;&#x2122;vestudios. only twice performed boards of the stage butand is also, more significan more ofinteraction a story goFriel anywhere. from two Chekhov plays. Andrey Gate such a modern play cele set bytoPeopl the lit Gem is Station ayou simple story, based on three thechose publicâ&#x20AC;&#x2122;s built environme residence at Why the Fire The show will onboard forwith the film. How did Thursday 17 June â&#x201A;Ź20-45, 8pm did chose aI play monochrome color ofand Chopin. ofLittle Gare St Lazarre, Ireland how youscheme? would be to â&#x20AC;&#x2DC;travel lightâ&#x20AC;&#x2122;. First in French â&#x20AC;&#x201C; once was in 1986 when my first very solo giant leap of faith for the future of theatre ino itâ&#x20AC;&#x2122;s just one actor speaking because they I think that generations of women from Murphyâ&#x20AC;&#x2122;s native from Two Sisters, and the other character is Sonya are really interested in how public space is dI lifeâ&#x20AC;&#x2122;s work? consist of a We sculpture and wall-based works that are involved? wanted the film to have a unified style so Featuring Christy Moore, 

     and Judy ended up in the driving seat of it? presenting a play in a theatre so show went to Avignon and we commissioned a transsented with all these amazing images go the value ofd Artane. Itresponse chronicles aimages year inand their lives. A simple with aalways certain in-built anmost anxiety pr from Uncle Vanya. Friel hashad these characters anâ&#x2013; abstracted tobrought texts relating Writers like to have their recent The idea ofanxiety, auditioning people everything to have the same palette throughout. Mary Black RTE National Symphony â&#x2013;  Keith Donald and Eamon      group  !"#$

 % Sodome, my love runs atasthe Project Arts CenY lation of itin into French soform, I did with itaone night in English, heads.â&#x20AC;? There was originally called Gare theme text the main play, no extravagant sets St awith fear and expectation of misuse. to how social spaces are designed and controlled. to so we werenâ&#x20AC;&#x2122;t surething. how  w Ifmonologue we had shot in color we would have had a lot upon of their 16-27 March. Tickets cost â&#x201A;Ź15 - â&#x201A;Ź25 one night in French for two weeks. I think I lost about

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to get the fuck up coddin’, isn’t there only a cyclone 15 miles east after coming in on the phone. So we storm outta Norman as it were, eight car procession to see this mighty wind cuttin’ open the sky like a pair of curtains. The lads in the front are out with their cameras, screaming like babbies, shrieking at the thing with all this shite blowin’ up around it from the country. Walkie-talk word gets back it’s over an actual town, Elk City, and we all swing a left off the Route we’re banging down. It’s still only a skinny little slip of a thing in the sky, but we’re pelting up the road and she’s growin’ like a monster. We get so close to the thing that we can see all the shite it’s ripping out of the ground, only a mile away and that. I saw an actual house, an actual house right, with some poor Wizard of Oz Dorothy in the thing, and I tell ya, one minute she’s on the ground, then up she flew. Up she feckin’ flew into the thing. I get home to Julia later on, she’s still snorin’ away, and I tell her, “I saw a Jaysusin tornado, J. I saw the feckin’ apocalypse killin’ everything it laid eyes on.” We pull to a mucky stop in the stillspitting rain, and Brian zips his hiking jacket down, palpably sweating from all this storm talk. I decide to engage Derek. Aside from obvious Premier-League-based differences, Derek Tracey is a lot more immediately fascinating. While Brian seems to have a whimsical knowledge of the science involved in what he’s doing, Derek is intensely interested in his field, like a 16th century ship’s captain comandeering a distraught old fleet around the Horn. He grounds his interest in the explorative past of his hometown, Birr. He tells us about a school visit to the Leviathan, a person-tall telescope in Birr Castle that once ranked as the most powerful telescope in the world, and how it fascinated him that the backarse of Ireland could be home to a thriving sci-



entific knowledge, and how his mammy bought him an astronomy kit and book of star readings as a kid, only to ask him to read her star signs from it. Derek isn’t even sure if he’s a Cancer or a Leo, but he spends his now ample spare time reading hefty meteorological journals downloaded from the internet, trying to familiarize himself with those across a vast technological divide from him, learning new jargon, and new detection developments. He’s had little real-life storm thrills except for the aforementioned Co. Clare mini-tornado, but the potency of nature in PMS mode has galvanized him into almost entirely eschewing a paying job to drive shotgun with Brian on crosscountry twister travails. We wonder, later, on the bus journey home if he might be a little Asperger’s. As we talk hometowns, I mention a story I’d once heard in Ringsend Community Centre about an apparent hurricane ripping the roof of some auld wan’s house on Castle Road, in 1974. The New Year, I think it was. ‘1974 was a dirty HOOR of a year,’ Brian gesticulates over his Freshways sandwich, a bit of egg landing unfortunately on Derek’s specs. ‘I tell ya, I was a ten year old then, and it was, yeah, it was, it was the first time I was excited about the weather. The news was going ninety, fiercest winds ever recorded, an actual hurricane if you ask Beaufort. People’s houses made a hames of, fecking missing cows from farms, flowers whipped away from the front a the shop, and my jaw, I tell ya, was in my lap. The wind was like a brick wall running into you, faster than Linford Christie, faster than the Hiace downhill, and I thought, as a little fella, Jaysus we can build houses stronger than a pack of chrome oxes and they’d blow away with a gust a wind. The big bad wolf, and that. That was pure excitement. I’m sure it was the same up your end, sure we’re only a little island.’ Lightning, to take the figurative rather than scientific tack, never strikes the same place twice, we know, so I wonder what excites Derek and Brian about measuring the angles of cumulounimbus in relation to far off bungalows day-in-day-out. ‘It’s really about the global progression of, like, storm knowledge, you know?’ Derek, wiping his glasses clean of egg mayo spittle, ruminates. ‘We’re really excited for the results from Vortex2, which is this big, like, nomadic fleet of storm experts in America who went out between May and June this year with millions of dollars worth of equipment to figure out once and for all how they can guess when tornadoes’ll hit. At the minute warnings give you like 13 minutes to get

there, and itâ&#x20AC;&#x2122;s nearly always a false alarm. If they figure out the formula from readings that make it, you know, not random, then weâ&#x20AC;&#x2122;re in business. We could be in the eye of a snake anywhere in the country if we had two hours of warning.â&#x20AC;&#x2122; Brian scoffs, â&#x20AC;&#x2DC;You donâ&#x20AC;&#x2122;t understand it, you two. You can go on the Youtube and watch videos all day, and think youâ&#x20AC;&#x2122;re getting the gist a whatâ&#x20AC;&#x2122;s so terrifying about them, but youâ&#x20AC;&#x2122;ve better chance a winninâ&#x20AC;&#x2122; the Lotto than seeing one in real life. You have to be on the move. The chance a bumping into a cyclone is worth â&#x201A;Ź100 quid in petrol a week, let me tell ya. Youâ&#x20AC;&#x2122;ll change for the rest a your life if you see that wind flying in circles and sucking things up like an alien into the sky.â&#x20AC;&#x2122; That doesnâ&#x20AC;&#x2122;t happen in Ireland though, right? I mean, I researched, and not one person has ever been so much as scratched on the cheek by a low-flying twister. â&#x20AC;&#x2DC;The feck they donâ&#x20AC;&#x2122;t. Isnâ&#x20AC;&#x2122;t the environment only completely... completely fecking unpredictable now? You could have volcanoes sprouting out of west Limerick the way things are going. Thereâ&#x20AC;&#x2122;s been a 34% increase in tornado reports â&#x20AC;&#x2DC;cross the country in the last four years, theyâ&#x20AC;&#x2122;re happening more and more. More floods and more freezes and more feckin sunburn in September [he here gestures a farmerâ&#x20AC;&#x2122;s tan along his sleeve line burned in by the previous weekâ&#x20AC;&#x2122;s Indian summer]. Weâ&#x20AC;&#x2122;ll be the lads who know the score when it gets even wilder, not the Yahoos, and not Met Eireann. Those wabbos never been out in a van in their lives. Summer and winter, thatâ&#x20AC;&#x2122;s when they hit us. Ask any poor lad with a wooden barn outside Athlone.â&#x20AC;&#x2122; Five hours later and I am seriously depleted of questions, all lines of enquiry exhausted. Weâ&#x20AC;&#x2122;re sitting in the back of the van like two bored kids on a roadtrip to Westport, wondering if weâ&#x20AC;&#x2122;re there yet. There is no fixed point and we seem to be using entirely arbitrary pseudo-science as a compass on an already non-existent map. Derek is going out tonight, so we decide to turn back through Tullamore and head Birr way. Brianâ&#x20AC;&#x2122;s been giving Derek â&#x20AC;&#x2DC;shlackâ&#x20AC;&#x2122;**** all day over him only being a youngfella, and for general â&#x20AC;&#x2DC;arseboxingâ&#x20AC;&#x2122;*****. We drive by Harrierâ&#x20AC;&#x2122;s, a school disco of unholy proportions and historical debauch in Tullamore where Derek is destined for on Saturday night, enlisting Brian as his incongruous chauffeur, despite the clubâ&#x20AC;&#x2122;s 16-18 policy which never seems to cop Derekâ&#x20AC;&#x2122;s seniority (perhaps due to his patchy facial hair and rather adolescent apparel). Weâ&#x20AC;&#x2122;re dying to get back to Birr bus stop for the 6.45. â&#x20AC;&#x2DC;Shtop, will ya. Weâ&#x20AC;&#x2122;ll be there soon.

Weâ&#x20AC;&#x2122;re suckinâ&#x20AC;&#x2122; diesel now, we are.â&#x20AC;&#x2122; So say every conscious human is born with a finite amount of psychic energy, a little bag full of obsession points, cashed like in a casino on the facets of life they want to most pursue, for whatever reward. A long-distance runner channels like 85 obsession points into becoming the most singular physical specimen in his field. A priest funnels the grand 100 obsession points into an abstract being that promises a royal flush of future decadence in place of the more oftendispensed sexual, alcoholic, and social energy-magnets. An alcoholic, vice versa. Happiness is finding either that golden funnel to filter all your energy though, or else some figuring out your personspecific ratio of these finite points into a balanced budget, and living some kind of productive lifestyle from there in the pursuit of fulfillment. Brian exemplifies the person who thinks theyâ&#x20AC;&#x2122;ve found that golden funnel during some long-past experience fumbling upon something promising, who has grasped it with both hands, and clings to it in fear of otherwise personal obliteration. I canâ&#x20AC;&#x2122;t help but bite my nails that he is roundly ignoring common-held fact that the house is stacked against him. He tells me, through either body-language or a shared obsessiveâ&#x20AC;&#x2122;s talent for telekinesis that there were no tornadoes in Oklahoma, and that the Tipp Tip-Off was a pure accident of luck. The rain gets heavier and we pull our hoods up as the bus back to Dublin appears on the main road, and I secretly hope Derek realizes the game is odds-off before his points are spent on an intangible wind. * The Enhanced Fujita Scale, an index used as a Beaufort for tornadoes in America. Brian pronounces this like â&#x20AC;&#x2DC;Fajita;. I hope that heâ&#x20AC;&#x2122;s never tried to cook Tex-Mex at home. ** Theodolite. An architect or rocket launcherâ&#x20AC;&#x2122;s implement for discerning horizontal and vertical angles. *** Julia is Brianâ&#x20AC;&#x2122;s wife. She is the owner of a floristâ&#x20AC;&#x2122;s off the main street, inherited in her thirties, and Brian counts her endurance against his high-risk lifestyle as a vital trait in keeping their marriage sane and normal. We visit her before we leave Birr and she offers Fuchsia seeds for a plant of her eponymous flower before we depart, along with an in-depth species breakdown of this particular floral growth with a depth of knowledge that almost puts the boysâ&#x20AC;&#x2122; patchy meterological intelligence to shame. **** Terrible abuse, an awful time, a thorough slagging. ***** Acting the maggot.

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he budget. Those two words are starting to sound like an age-old curse nowadays – sending shivers of dread down spines and making hairs stand on end as we anticipate its arrival with baited breath. Whilst we have to accept the fact that the government no longer has the cash to splash around that it once did, the harsh realities of spending cuts are bound to provoke an angry response. All branches of society are bracing themselves, and what’s more, taking to the streets to show it. The arts industry is no exception. On the front line of this is Theatre Forum’s Tania Banotti, who last year set up National Campaign For the Arts (NCFA), a protest organisation to allow the voices of arts industry workers to be heard. Though the campaign was fairly small last year (even if it did include big names like Brendan Gleeson and Gabriel Byrne), the response this year has been huge – more than likely a reaction to the drastic cuts the industry faced last year. If people have felt the pinch over the past twelve months, an equally dramatic budget in December could mean the end for many cultural organisations. But what’s been surprising is that it’s not just those whose jobs are threatened who are up in arms. A huge proportion of NCFA’s support this year is coming from those employed outside the industry, who simply feel strongly about the arts. With over 11,000 people having sent letters about arts funding to their TDs within the last six weeks, the response to the campaign has far surpassed Banotti’s expectations. So why do so many people feel so passionately about arts funding? Why not protest about the healthcare budget, child tax credits or the slipping standards of educational facilities? It seems Ireland’s attitude to the arts has changed – once seen by many as a luxury, people have now come to realise the instrumental role that the arts play in life and in society. One of the main points the campaign stresses is that the overall arts budget pales in insignificance compared to, say, the healthcare budget: the whole pot of money which sustains the arts wouldn’t be enough to fund one hospital for a year, says Banotti. So by funding the arts, we’re not diverting money away from other essential services. On the flip side, a 20percent cut to arts funding would have little impact upon the government’s deficits, but could mean the difference between survival and disaster for many arts organisations. It’s perhaps also become more commonly accepted that funding the arts is more of an investment than a handout: pump money into the arts industry, and it will generate much more back, so it makes economic sense to support it. According to Jack Harte of the Irish Writers Centre, it’s not the artists that are relying on the state for survival – the





Clockwise from top left: NCFA’s Tania Banotti in her studio; Irish Writers Centre Jack Harte and poet Liam Mac Uistin; NCFA

State relies on artists. For example, substantial amounts of revenue is generated by cultural tourism – if you’ve ever looked down at the ground whilst waiting for the lights to change on O’Connell Bridge and seen a ‘Ulysses walking tour’ plaque staring back up at you, you’ve probably realised this. But very little of this generated revenue comes directly back to the arts industry. Rather, most of the cash will go into hospitality industry – hotels, bars and restaurants – as this is where the majority of cash spent by tourists is distributed, even though it’s the arts that bring them here. It’s important to maintain the strong cultural scene to attract these visitors, as well as keeping it alive for our own enjoyment of course. Although much of Ireland’s cultural tourism is inspired by icons dead and gone (whether it’s a statue of James Joyce or Phil Lynott that’s being venerated), chances are, most cultural tourists who come to Dublin hope to see this ‘mythical artistic culture’ happening before their eyes. Let’s face it – Temple Bar isn’t packed with tourists because it has notoriously cheap drinks prices. At a time when the country’s economy and politicians are a global laughing stock (who could forget Cowen on Morning Ireland and Jay Leno), the arts are one thing we can still take pride in. Returning to the Irish Writers Centre and its founder Jack Harte, literature in particular has played a huge role in the formation of a strong, respected Irish national identity. During the National Day of Action last month, during which awareness for the NCFA’s cause was raised, Harte laid a wreath honouring Irish writers of the past in the Garden of

Remembrance on Parnell Square. He feels the role they have played in creating the Ireland we know today cannot be underestimated. The Irish Writer’s Centre is the city’s foremost literary establishment, hosting open readings, workshops, courses, literary festivals and other events. Considering Ireland’s illustrious literary history, the Centre takes on a pretty important cultural role. Ironic then that it lost a substantial amount of funding last year – 100 percent of it, in fact. On the cusp of closing down when this was announced, Harte decided he would not give up without a fight. With some clever rethinking of the Centre’s structure, a lot of hard work and a batch of dedicated interns working on a voluntary basis, the space is still open one year on. A modest amount of funding acquired since then has allowed the Centre to put on a tour of readings in various venues across the country (many of which take place over the next month – check the website for details), but Harte is still often frustrated by the limits that come with meagre funds. The Irish Writer’s Centre is not the only state-funded institution to have had to rethink its approach since the cuts last year. Temple Bar Gallery & Studios have also undergone a restructuring over the summer, being officially re-launched on the 10th of December. The Gallery’s current exhibition, by Alan Butler, is attracting a good crowd, but crowds alone cannot bring financial security. An upcoming fundraiser is on the cards – and a lot will be riding on it. So if mere survival is becoming so difficult for already-established cultural spac-



Printmaking workshop in CFCP

es, with history and good reputations, what’s it like for a new venue? Centre For Creative Practices (CFCP) is one of those. Currently, they receive no funding, staying afloat by charging small cover charges (usually around €5) for some events, running workshops and courses, and hiring out their space to various other groups and exhibitions. However the gallery’s lack of reliance on the state is not voluntary – manager Monika Sapielak has applied for funding and is hoping to receive it in the new year. “Having worked with the Arts Council and other organisations since 2006... applying for funding in the first year of operation just doesn’t make sense”, explains Sapielak. She hopes that by working hard, building up a good reputation and showing the Council what she can do, CFCP will eventually gain financial support. This involves a lot of sacrifice: somewhat of a superwoman, Sapielak seems to devote her whole life to the running of the space, frequently working gruelling twelve hour shifts (“eight days a week”, she adds) – and all for no pay. Though the space has managed to stay open for a year so far – against the odds, considering the economic climate – they are barely covering maintenance costs like rent and bills, with all staff working voluntarily. The commitment shown by Sapielak and others like her speaks volumes: you’d be hard-pushed to find this kind of dedication in any other industry. But her efforts will only be worthwhile if funding comes through – there’s only so much longer a cultural space can function without it. So what’s the key to survival for Dublin’s cultural institutions? Well for CFCP, a multi-disciplined approach to the arts has been one thing that’s kept them going. The Centre puts on all kinds



of events – from foreign film screenings to theatre performances, exhibitions to linocut workshops, contemporary dance to the popular ‘Jazz Jam Sessions’. This means that the centre’s roster is kept busy, and the space is continuously being hired out, providing much-needed income. Another way arts organisations get by on limited funds is through a system of unpaid internships and voluntary work: nearly all of them rely on this. Not having to pay staff cuts down overheads drastically; especially considering the skilled nature of the work they perform. However this is only a short-term solution. As soon as the interns find a paid job, they will naturally up anchors and leave, meaning that new ones have to be recruited every few months. The time spent constantly training and retraining staff could be much more effectively be spent elsewhere. Relying on unpaid workers can also give rise to ethical issues and create inequality when the wider impact on society is considered. In general, only those from fairly privileged middle class backgrounds can afford to support themselves through four years of higher education, followed by around two years of unpaid work – and even then this has become much more difficult since the credit crash. But for those from working class backgrounds hoping to break into the arts industry, there’s little hope: many end up doing mundane, unskilled jobs to make ends meet, despite having good degrees and bags of talent. If elitism and snobbery in the art world is going to be combated, the industry needs to start paying its staff – allowing skilled and intelligent workers from disadvantaged backgrounds to enter the realm. But for this, they need funding. Even if modest wages were supplied the situation would improve – arts industry

employees are generally prepared to work a lot for very little, because they’re passionate about what they do. However they can’t sustain themselves if they receive nothing at all. Have there been any positives the arts industry has taken from the funding situation? Well one softener to the blow has been the sense of community it’s created. Whereas in the past, organisations would work almost entirely independently, hard times have made smaller businesses join together – sharing office space to cut down on rent, or collaborating with events they put on. Like all bad experiences, it will also inevitably teach a few lessons: industry workers will have been forced to develop new coping strategies and business techniques which they can hold on to for the rest of their careers. However if things don’t pick up, these newly formed tight-knit communities may have to be disbanded, and valuable techniques learnt may become futile as arts careers come to an end. The positives the industry has taken from the past couple of years can only stay positives as long as the industry survives. Charging small cover fees and renting out space can make ends meet for a while, but it’s not sustainable: the art industry needs to find a new source of income, and pronto. As for the traditional reliance on donations and philanthropy, it isn’t working anymore. Perhaps the nation’s rich list have become accustomed to the arts being publicly funded and no longer feel the need to donate (where’s Bono when you need him?), or perhaps nowadays they simply don’t have the cash to throw around. Corporate sponsorships are a more likely solution than large philanthropic donations, but even then, this is only plausible for large, well-known arts organisations. For a struggling small gallery or theatre group, the chances of getting sponsorship from Absolut are very low indeed. Although the support for Tania Banotti’s National Campaign for the Arts has been strong, there’s no doubt many people won’t realise tragedy of the impending loss until it’s gone. There are many things that may seem more immediately important, but for many of us, the arts are essential to our existence: most of us would find that life would become just survival without the arts to keep us going, especially in times like these. In the words of Samuel Beckett, “Imagination. Dead. Imagine.” To find out how you can get involved with the arts funding campaigns, log onto

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festivals words // ZOE JELLICOE

NPVUIJOHPGG New company Béal are hosting their first ever festival. On the 3rd and 4th of November, recitations will be given by contemporary performance poets alongside twelve pieces of music written especially for the readings. Throughout, artworks which explore the text will also provide accompaniment. Curated by David Bremner and Elizabeth Hilliard, the Béal Festival aim, by means of this sensitive, experimental attitude to textual interpretation, is to

explore new connections and interpretations which emerge and develop, via the act of exploring words through both sound and meaning. Béal commences in the National Concert Hall with the phases of the night, followed by an informal open rehearsal, conversation drifts up a ventilation shaft in the upstairs of Shebeen Chic. Béal will culminate on the 4th with John Ashbery: The System in the Goethe Institut, and cusps of light cut dazzle, in the Trinity

College Chapel. The remarkable Milltown Chamber Choir will perform new works by Gráinne Mulvey, Jonathan Nangle, Laura Kilty, David Bremner and Donal Sarsfield, interspersed with readings by poets Maurice Scully and Catherine Walsh. For more information visit Book tickets at

upstage words // CAOMHAN KEANE

MFUUIFNFBUDBLF Dublin lads Colin and Ray are out of work, out of luck, and nearly out of fags. On a whim, old and lonely ex-teacher Clarence invites the two brothers back to his cottage in Wicklow. Through the course of one electric and increasingly drunken evening, the unlikely trio bond over naggins and history lessons, but will Colin’s destructive streak ruin their chance of finally finding a happy family? What is Big Ole Piece of Cake about? It’s about an encounter between a schoolteacher and two Dublin men in a house in Wicklow. It’s a small story that is character driven and dialogue based. What goes on within the piece is a discovery about what these three characters are about. It’s an ensemble piece where we get to know more about the characters as it evolves. Where did the idea come from? A friend and myself went to Mayo about three years ago to do the Croagh Patrick walk and we called around to his uncle. And sitting in that room, myself, my friend and his uncle, what struck me was the contrast in our clothing and his clothing, the contrast in our accents, the cultural contrast, the age contrast.... just sitting in that room with green hideous walls, the dog in the corner, blind in one eye, the television on



mute, just all those contrasts between me, my friend and his uncle, a quiet, reclusive country man in his late sixties. You’ve been described as a playwright to watch. Who would you consider your contemporaries? Most of the playwrights I really like at the moment came ahead of me. I don’t think there is any playwright out there at the moment that I am really impressed with. They have all fallen into the same spiral that I don’t like. I’m not criticizing the writing; some of it is very skilled. But I’m not that taken with the end product. I find that monologue... I don’t like monologues at all. It’s poisoned theatre. What is your problem with monologue theatre? I think it’s a crutch as they can’t write interactive dialogue from start to finish or because they feel they have to fit into a trend. I want to see interaction between people. I want it to flow. Because as important as dialogue is writers are too verbose in this day and age. The characters should come first. Get some Cake from November 2nd, at the Civic Theatre, Tallaght and then at various venues thereafter.




Design is starting to become a strong point for Dublin. From last monthâ&#x20AC;&#x2122;s Offset festival to the growing array of design boutiques dotted across the city, the industry is defying the odds and coming up trumps. At no point during the year is this more evident than Design Week - an annual showcase and celebration of this quietly thriving sector. For the first week of November (1-7), you can shake off your Halloween hangover by immersing yourself in a range of talks, exhibitions, workshops and even an awards ceremony. Sweet. Highlights on the exhibition front Comingafrom a background in costume include group show by illustration coldesign,Brainbelt Cait Oâ&#x20AC;&#x2122;Connor must surely be lective at Centre For Creative accustomed to women parading about Practices; a rare showcase of â&#x20AC;&#x2DC;Jackets, onstage,&revelling YetDutch in her Covers Sleevesâ&#x20AC;&#x2122;inbyattention. underrated upcoming exhibition The Observatory graphic designer Cor at Klaasen and a on Sir Johnon Rogersonâ&#x20AC;&#x2122;s Quay, her attention new show eco-friendly innovation at is turned away from the theatrical madam and towards those that prefer to remain behind the curtain. The collection, Girls I Know, is a sort of prowling, voyeuristic pry into the lives and bodies of women who wish to remain unseen. The artworks themselves are as elusive as their subjects: sketchy forms are left partially coloured, and figures are often incomplete, their faces or body parts falling out of the frame. Though they are pictures of beauty, their harsh, patchy colouring and fragmented nature lend them an air of aggression, or conflict â&#x20AC;&#x201C; â&#x20AC;&#x153;the medium and the subject are in disagreementâ&#x20AC;?, remarks Oâ&#x20AC;&#x2122;Connor. But hard as they try to avoid our gaze, Oâ&#x20AC;&#x2122;Connorâ&#x20AC;&#x2122;s subjects only grow more captivating in their avoidance of us. You can try and catch a glimpse of them at The Observatory from the 11th to the 26th of November.



the Science Gallery. Thereâ&#x20AC;&#x2122;s also lots of launch parties at which to eye up some truly lust-worthy products: head for the Malthouse on North Circular Road for a four-in-one launch bash on Tuesday the 4th, including one by leading collective Cream of Irish Design - well worth the bus journey. Early-birds might even want to indulge in (dare I say it) a spot of festive shopping. Youâ&#x20AC;&#x2122;ll snap up some truly unique purchases that any artistically inclined friends or relatives will appreciate a lot more than a special offer bath set grabbed in a last-minute panic. The Dublin Design Trail will certainly point you in the right direction if this is your intention - youâ&#x20AC;&#x2122;ll find this if you flick to the back of the official Design Week brochure. It is, of course, the perfect opportunity to treat yourself, as well as your loved ones, but that goes without saying...

1973â&#x20AC;&#x2122;s Donâ&#x20AC;&#x2122;t Look Now is a film that has remained in popular consciousness - much like the Daphne du Maurier short story of the same name, which inspired it. In it, Donald Sutherland and Julie Christie attempt to escape bereavement amongst the canals of Venice, only to be haunted by fleeting glimpses of their dead child in, amongst other things, red raincoats. The recurring motifs and omens that are threaded through the narrative generate a resourceful bank of visual cues to draw upon and be inspired by - even Sophie Ellis Bextor once filmed a video inspired by the visual language of the film, not that thatâ&#x20AC;&#x2122;s any stamp of quality. Where you will find quality, however, is in the Back Loft later this month. From October 27th until the 31st, the gallery will house the group exhibition Donâ&#x20AC;&#x2122;t Look Now. Using the web of themes spun in the text (â&#x20AC;&#x153;fear and fate, foreboding, omens, signs and intuitionâ&#x20AC;?) as their starting point, the artists will present new works in a variety of mediums. Textiles, prints, photography, illustration, animation and sound will all feature in this multifaceted creative effort, which will immerse If you like haunting photography, go to Paris. For you in the and uncertain world a start, itâ&#x20AC;&#x2122;s possibly the most photogenic of de Maurierâ&#x20AC;&#x2122;s classic. city youâ&#x20AC;&#x2122;re likely to find, but itâ&#x20AC;&#x2122;s also home to Paris Photo, the worldâ&#x20AC;&#x2122;s leading photography fair. With an extensive selection of photographs, from 19th-Century images to contemporary shots, youâ&#x20AC;&#x2122;ll have plenty to feast your eyes on (as well as your lenses). This yearâ&#x20AC;&#x2122;s fair will place an emphasis on works from central Europe, where an avant-garde photography movement thrived in the early twentieth century â&#x20AC;&#x201C; many of the gems from this era (including shots from the likes of AndrĂŠ KersĂŠtz and BrassaĂŻ) will be on display Described by Times art-buff Waldemar Januszczak as â&#x20AC;&#x153;the most alongside post-war and modern works. glamourous art fair in the heâ&#x20AC;&#x2122;s been the to afair, A worldâ&#x20AC;? host of (and talks Iâ&#x20AC;&#x2122;d willsay accompany few), Frieze Art Fair willwhich be returning to Londonâ&#x20AC;&#x2122;s Regents du Park takes place at the Carrousel from the 14th to the 17th this month. Over 60,000 Louvre on November 18-21.visitors flock to the fair every year in search of canâ&#x20AC;&#x2122;t aesthetic shrewd If you makewonderment, it to old Par-ee, you investments and the low-down on the developments conmight want tolatest nip over to MeetinginHouse temporary art. In order to keep things relevant (and a tadinstead. more Squareâ&#x20AC;&#x2122;s Gallery of Photography exciting), Frieze hone in Their specifically onexhibition contemporary, living artcurrent The Collectorâ&#x20AC;&#x2122;s ists; no dusty Dead White Males thenas - the only exception Eye may here, not have extensive a colbeing Jeffrey Vallanceâ&#x20AC;&#x2122;s hotly anticipated mock seance, lection as youâ&#x20AC;&#x2122;ll find onartistic show at Paris channelling and interviewing unresting Photo, but you creative will findspirits a finefrom arrayDa of Vinci to Van Gogh. works nonetheless, some of which are Vallanceâ&#x20AC;&#x2122;s installation amongst is one of the nineearliest commissioned specifically photographs taken. to accompany the fair, collectively titled â&#x20AC;&#x2DC;Frieze Thereof The images, taken fromProjectsâ&#x20AC;&#x2122;. the collection will also be a series of talks discussions leadthe by grief the likes of Seanand Sexton, document of war Wolfgang Tillmans and Bridget Rileyas - just youâ&#x20AC;&#x2122;re more and famine, wellinascase fin-de-siecle glaminterested in the opinionsour. of living artists Vallanceâ&#x20AC;&#x2122;s incarnaLook out forthan the rare ambrotypes tions. For many though, and the beauty of the Frieze Art Fair is the daguerreotypes â&#x20AC;&#x201C; though black and way it comes to life afterwhite, dark: some at night, by the haveperformances rosy red cheeks and likes of Hercules & Lovesnazzy Affairblue and bow Telepathe exploreonto the links ties painted the between visual art and other creative sitters. mediums. The perfect way gentlemanly Stylish. to let loose after a long day of art trawling.




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clubbing clubbing   

  words // PADDY Oâ&#x20AC;&#x2122;MAHONEY

.05 Weâ&#x20AC;&#x2122;ve lost count of the amount of times QVUZPÂ&#x2DC;IBOETVQ

weâ&#x20AC;&#x2122;ve heard people whinging about Irish closing times, thebeen lackaof night clubs, or Terrence Parkerorhas DJgood for over anyand oneitâ&#x20AC;&#x2122;s of fair several other thirty years, to say thegripes manâ&#x20AC;&#x2122;sabout how shit this citycut is to out playing in. One man who got skills. Parker hisgo teeth opposes this moaning is Danilo Plessow aka hip-hop in the early eighties, but later Motor City Drum Ensemble. embraced house. â&#x20AC;&#x153;In 1985 as it â&#x20AC;&#x153;Any was time Iâ&#x20AC;&#x2122;ve in Dublin Iâ&#x20AC;&#x2122;veitreally, really enjoyed growing. played Back then we called the â&#x20AC;&#x2DC;proit. One Sunday in the Bernard Shaw was one gressive dance movementâ&#x20AC;&#x2122;.â&#x20AC;? This stateof my From ment belies the favourite credibilitygigs andever.â&#x20AC;? respect thisa man who spends hisout weekends dropping into nightclubs man has carved as an elder statesman in Heâ&#x20AC;&#x2122;s everysomething corner of the world, thatâ&#x20AC;&#x2122;s no weak of sorts. of an anomaly, praise. his upbringing in Germanyâ&#x20AC;&#x2122;s a house DJDespite that brings DMC quality motortocity, infatuscratching theStuttgart, fold â&#x20AC;&#x201C; andPlessow pulls itbecame off. ated with soulful sounds of Detroit from An advocate of the gospel house, itâ&#x20AC;&#x2122;s fair to an early age. an obsession thatâ&#x20AC;&#x2122;s manifest in say Parker took a different path to many house tracks. Coming to prominence with of his his Motor City brethren; however, his 2008â&#x20AC;&#x2122;s deep, analogue is a name that willRawcuts, forever beMCDEâ&#x20AC;&#x2122;s intrinsically style hasDetroitâ&#x20AC;&#x2122;s led to his status asmusic torchbearer for linked with electronic Detroit house. and We got him on the blower community. Radiomade Downtown before upcoming gig inTP thetoTwisted Pepper sounds have his conspired to bring the and chatted Jayson the Brothers, and brand spanking newMo-town, (Pravda without surprise package that is Majorca - read stale weethe smell) venue The Grand Social. interview, He the wasfull kind enough on to answer a few and get your ahead motor of to the the gig Twisted Pepper on the 25th questions on November September his next show. 12th, touching on telephones, godfor (naturally), and why heâ&#x20AC;&#x2122;s so big in Japan. Read the full interview at

monitor comedy     

words // CONOR Oâ&#x20AC;&#x2122;TOOLE

TLJUBMPHJDBM Sketch troupe Foil, Arms & Hogsâ&#x20AC;&#x2122; formation was â&#x20AC;&#x2DC;a bit of a mistakeâ&#x20AC;&#x2122; after the Father Ted play they were bringing to Edinburgh fell apart. Two years on, I met them at The International Bar, where their popularity is growing by the day.

"EE"#$  4IBOL

My nose is bleeding, the torn skin of my elbow is flapping like a sail in the night wind, and every article of clothing still intact on my person is wetter than an otterâ&#x20AC;&#x2122;s pocket. Iâ&#x20AC;&#x2122;ve been to an Adebisi Shank gig, and am grateful that at least my limbs still do what theyâ&#x20AC;&#x2122;re supposed to. Some things youâ&#x20AC;&#x2122;ve probably heard about Adebisi Shank recently - theyâ&#x20AC;&#x2122;re the most spectacular live act on a particlecharged circuit of bands currently spoiling Irish gigging sorts, theyâ&#x20AC;&#x2122;ve just pulled off one of the most singular albums in recent listening history [This is the Second Album of a Band Called Adebisi Shank], theyâ&#x20AC;&#x2122;re really technical and math-rocky. You heard right on two out of three. â&#x20AC;&#x2DC;Weâ&#x20AC;&#x2122;ve always loved Paul Simon and Peter Gabriel,â&#x20AC;&#x2122; drummer and Mick declares before the launch party of their pretty much unmappable album. â&#x20AC;&#x2DC;Especially Paulhave Simon the Rhythm and Sketch groups a mixed history with the Saints kinda the township jive TV. Do you havething, any interest in television? stuff itâ&#x20AC;&#x2122;s a lot... happier. The Foil:rhythmically, I have a television. last album andwrite EP was Arms: Donâ&#x20AC;&#x2122;t that,really itâ&#x20AC;&#x2122;s notcomplicated particularly and aggressive. This is just more reprefunny. sentative of us as people. Weondonâ&#x20AC;&#x2122;t Foil: Weâ&#x20AC;&#x2122;ve found our stuff stagethink doesnâ&#x20AC;&#x2122;t everythingâ&#x20AC;&#x2122;s transpose toshit. film.Weâ&#x20AC;&#x2122;re not chin-strokers.â&#x20AC;&#x2122;

/BUJPOBM-FQSFDIBVO.VTFVN Tufq!joup!bopuifs!xpsme///


The nonetheless undeniable cleverness and relentless of Adebisi both Arms: It ruinsenergy the magic of the theatre. live and on record has been given a new platform by theFoil, major key, Do you think Arms &wide-template Hog are going direction taken II, which includes to emigrate likeon soAS many other Irish acts? the handiwork Japeâ&#x20AC;&#x2122;s Richie Foil: Well weâ&#x20AC;&#x2122;reofworking on ourEgan, Polish, Villagers Oâ&#x20AC;&#x2122;Brien producer thereâ&#x20AC;&#x2122;s a Conor lot of jobs goingand in Poland at the TJmoment. Lipple of Aloha indie-fame. Itâ&#x20AC;&#x2122;s almost pop. â&#x20AC;&#x2DC;I Ithought 90% of the peopleperson who Hog: hear if we marry a Latvian liked would go free â&#x20AC;&#x153;ah travel thatâ&#x20AC;&#x2122;sin shitâ&#x20AC;?. I think overus here, we get Poland. the fun Free we had Arms: busmaking ticket forit acomes week.across Thatâ&#x20AC;&#x2122;s in it,actually we totally that serious quiteescaped racist, could you notthing. include The first EP we had no expectations of, that? it was almost a joke band. People liked it though, album people wereoverseas? digging, How dofirst Irish sketches translate but this Some time around everybodyâ&#x20AC;&#x2122;s saying Arms: badly. During our first Fringe nice things about usâ&#x20AC;&#x2122;. we had a line about sliced pans. On the last Adebisiâ&#x20AC;&#x2122;s second album like phrase. a culmiday we found out it wasfeels an Irish nation of a hard work Ifrom Irish â&#x20AC;&#x2DC;Best thing since yearâ&#x20AC;&#x2122;s sliced pans.â&#x20AC;&#x2122; dunno what alternative music considering the heavier they say, the best -thing since sliced... rock labelmates Enemies, Hog:ofSliced bread?Jogging, They were thinkingand of a the Redneck Manifesto, a range metal cooking implimentand being sliced of up. artful playful records the seep Arms:but Thatâ&#x20AC;&#x2122;s no good, theacross oil would board, Adebisi fit snugly. â&#x20AC;&#x2DC;Itâ&#x20AC;&#x2122;s a really though. healthy time. The best thing is that people are recognizing healthy as opposed to Whatâ&#x20AC;&#x2122;s next foritâ&#x20AC;&#x2122;s you? just bitching. Thereâ&#x20AC;&#x2122;s less bullshit. Foil: Weâ&#x20AC;&#x2122;re trying to bring Scratch The nâ&#x20AC;&#x2122; Sniff potato famine disappeared.â&#x20AC;&#x2122; onto stage. Wesyndrome have FAHhas Pogs on the way. Go get your bloodied. Arms: Keep nose checking the Foil, Arms & Hog Facebook page for gigs.

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Chai Yo offers Japanese and Thai food in the friendly settings of its Baggot Street restaurant. With three Teppenyaki areas for group bookings and a wide, varied menu, Chai Yo offers affordably good food in a laidback environment.

Chai-Yo 100 Lower Baggot Street Dublin 2 T: 01-676 7652 W:


5A830H 7>DB4<DB82F44:4=3B

Night Flight honcho Lilâ&#x20AC;&#x2122;Dave is own his own playing a mix of Disco & House til 3am. Free in & Open Late!


B 0 C D A 3 0 H F867584;3

Special Guests Metrotek (FVF Records) & DeadEcho (Save You) take over for the night giving us a sniff of their newest sounds. Free In & Open Late.

B D = 3 0 H =4F?H6BD=30HB We continue with our Sunday discount booze, all Pints â&#x201A;Ź3 & Spirit w/ Splash â&#x201A;Ź4 and many more offers! Hilary Rose will be with us from 9:30 playing a mix of all the tunes you can think of.Free before 4pm, â&#x201A;Ź5 after.

01-288 8994 //


12 5A830H 7>DB4<DB82F44:4=3B

Unit 1 Old Orchard Inn ButterďŹ eld Avenue Rathfarnham Dublin 14 T: 01-493 4938

Two PYG residents go back to back tonight, Javier Delorient (Nomad Sound) & Johnmantis (Pyg). House & Techno all night. Free in & Open Late!

21 Sunday Star Hilary Rose is back again!Drinks promoâ&#x20AC;&#x2122;s all day and Great tunes all night! Free before 4pm,5 after.

24 F 4 3 = 4 B 3 0 H 3 > = C ½  ; 8 : 4  F 4 3 = 4 B 3 0 H B Hugh Cooney takes to the stage for his new monthly Comedy Cabaret. DJs and Comedy from 8pm. Free in.


_  3 & 4 5" 6 5 A 83 3 0 H" / 5  _

Aaron Dempsey takes us on a journey, deep into House. Free in & Open late!

13 B 0 C D A 3 0 H F867584;3

7>DB4<DB82F44:4=3B Some Deep House music in the

form of Mr. Aaron Dempsey %XCHEQUER3TREET $UBLIN tonight.Free in & Open Late.  WWWTHEGREENHENCOM 27

The longest standing Pyg resident Fratboy Babe-Stealer and new boy Con Allen take control from 11pm. House & Techno all night. Free in & Open Late.

B 0 C D A 3 0 H F867584;3

Some serious Techno tonight "25.#( from two Pyg residents, Sex

14 B D = 3 0 H =4F?H6BD=30HB

Situated in Rathfarnhamâ&#x20AC;&#x2122;s Old Orchard complex, Chrysanthemum is known for its excellent service and even better Chinese menu, stuffed with options for any lover of Oriental cuisine.


B D = 3 0 H =4F?H6BD=30HB


Mount Merrion At Kielyâ&#x20AC;&#x2122;s of Mount Merrion Deerpark Road Dublin 18

5A830H 7>DB4<DB82F44:4=3B

The Kings of Cork grace us with their presence... Adrian Dunlea & Boochy start of this month with some Deep grooves. House music from 11pm, Free in & Open Late.

B 0 C D A 3 0 H F867584;3

Offering a full hot-plate cooking experience,Yo Thai gives visitors not just fantastic Thai food, but the buzz of open-kitchen cooking for those looking for more entertainment from dining out. Great for both special occasions and quieter meals,Yo Thai is accommodating and friendly.


Shop & Will Kinsella, from 11-3am. Free In & Open Late.

,5.#( 8 _  3 2B& 4 5" 6 3 " / 5  _ D = 3 0 H

Two of the skinniest jean, pointy shoe wearing DJâ&#x20AC;&#x2122;s make their triumphant return to the Pyg. Ronan & Rob go R2R... Free before 4pm,â&#x201A;Ź5 after. Drinks discounts all day!


The boys are back, Rob & Ronan, $)..%2 a nice change to the _  3 with &4 5 "Rock 6& 3 /5_ usual...Indie Roll" from 9.30 and drink promoâ&#x20AC;&#x2122;s all day! Free before 4pm, â&#x201A;Ź5 after.

#/#+4!),3 _  3 & 4 5" 6 3 " / 5  _

1:(."-*0/  1 0 8 & 3 4 $ 0 6 3 5  5 0 8 / ) 0 6 4 &  4065)8*--*".45%


77 19

Live gigs November Mon Nov 1st ■ Tinie Tempah The Academy €19.50 Temper, temper ■ The Temper Trap Tripod €28 Temper, temper, temper ■ Robert Plant and The Band Of Joy Olympia Theatre, €55 Hardy perennial

Tue Nov 2nd ■ Doobie Brothers Grand Canal Theatre €54.80/€59.80 Yacht rock legends of yore ■ Fia Rua Whelans Upstairs €10 With Enda Reilly

Wed Nov 3rd

■ Therapy? Vicar Street €28, 8pm Revisiting some of their most Troubling issues ■ Túcan Whelan’s €10, 8pm An Arthurs Day synergy opportunity missed ■ James Vincent McMorrow The Button Factory €15. 7.30pm Should be a Bon show ■ Miracle Bell Whelans Upstairs €tbc, 8pm With Toxic Funk Berry ■ The Sounds of The Supremes™ The George €10, 9pm Led by 70’s and 80’s ‘Supreme’ Kaaren Ragland performing live

Sat Nov 6th

■ Cancer Bats Academy 2 €13.50 Surely the scariest of all animals

■ Paramore The O2 €38, 7pm Not to be confused with a certain disgraced comedian

■ Dermot Kennedy Crawdaddy €8, 8pm Under Red Skies EP Launch

■ O Emperor The Sugar Club €15, 8pm Wearing new clothes.

■ Willard Grant Conspiracy Whelans €18, 8pm Plus Dinah Brand

■ God is an Astronaut The Academy €22, 8pm Astronomical post-rock

■ Darrell Scott The Sugar Club €tbc, 7.30pm

■ Lee Ritenour The Button Factory €27.50, 7.30pm Called Captain Fingers for his predilection for Cadbury’s biscuits

Thur Nov 4th ■ Dan Le Sac vs. Scroobius Pip The Workman’s Club €18.50, 8pm A conflict as old as Israel Palestine. ■ Chromeo (Live) Tripod €20, 7.30pm With Midnight ■ Sam Amidon Whelans €15, 8pm Charming Nico Muhly/Jonsi cohort ■ Action Pause Reaction Whelans Upstairs €tbc, 8pm

Fri Nov 5th ■ Tokyo Police Club The Academy €17 Known for their breakneck speed and boots of danger

■ Sharon Jones & The Dap Kings Tripod €25.50, 7.30pm Not souled out yet. ■ H Natural (Marillion) Crawdaddy €25, 8pm Not H from Steps, naturally. ■ Nova Static Whelans Upstairs €5, 8pm Static. ■ Frank Vignola Trio Whelans €12, 8pm Jazztarist ■ Casiotone For The Painfully Alone The Workman’s Club €15.50, 8pm Lil Alone Eoin’s last ever live show.

Sun Nov 7th ■ Simply Red The O2 €49.20, 8pm Punchable 80s pop giant ■ Midlake Vicar Street €27, 8.30pm Schmidlake ■ Pierre Bensusan The Button Factory €20, 7.30pm Sephardic so good.

Mon Nov 8th ■ Love Amongst Ruin Academy 2 €13.50, 8pm Music from the one who looked a bit out of place in Placebo ■ Avenged Sevenfold Olympia Theatre €39.20, 8pm Grudge-holding yank metallists ■ Paul Gilbert Whelan’s €26, 8.30pm An expert in disposing of confidential information ■ Grant Lee Philips The Sugar Club €24.50, 8pm Rescheduled date

Tue Nov 9th ■ Darwin Deez Academy 2 €14.50, 8pm Deez are rapid. ■ The Murder Clues Whelans Upstairs €tbc, 8pm With Kotss, Steven Clifford + guests

Wed Nov 10th ■ The Deans Whelans €tbc, 8pm Crusty old family rock band ■ Debasement presents Whelans Upstairs €tbc, 8pm A selection of Irish bands

€54.80/€59.80/€65.70, 8.30pm Known for both his mullet and his longball tactics ■ Nouvelle Vague Tripod €20/€24.50, 8pm Old wave.

Sun Nov 14th

■ Hoarsebox Whelans €10, 8pm Fighting the neighsayers

■ Rhod Gilbert Vicar Street €25, 8.30pm Fishing for compliments.

■ Preachers Son Whelans Upstairs €tbc, 8pm Duncan Maitland & Anonymous

Fri Nov 12th ■ Rodrigo y Gabriela Grand Canal Theatre €30, 8pm About as Irish as Tony Cascarino we’ll claim them anyway ■ M.I.A. Tripod €38.50, 7.30pm Fly, like. ■ Martin Stephenson & The Daintees Whelans €15, 8pm Downstairs ■ The Dinah Brand Whelans €tbc, 8pm Upstairs ■ Dead Flags, Zealots, Verona Riots & Youth Mass The Village €15/20, 8pm Clockwork Apple doubleheader part 1

Sat Nov 13th ■ Chilly Gonzales The Sugar Club €19.85, 8pm Get a pair of gloves, son ■ Lost Boy! AKA Jim Kerr Academy 2 €23, 8pm Dimwitted solo vampire act

Thu Nov 11th

■ Dungen Whelans €15, 8pm Hairy Swedish pyschrock

■ Gorillaz The O2 €59.80, 8pm Find it hard to get animated about this band

■ Kill! Kill! Death! Death! Crawdaddy, €5, 8pm Highly exclaimed local lo-fi band

■ Bell X1 Acoustic Tour Vicar Street €30, 8.30pm Acoustic music in mouth

■ Niall O’Shea & The Inner City Dogs Whelans Upstairs €5/€7, 8pm This guy has a rabid following

■ Michael Bolton Grand Canal Theatre

■ Sweet Jane, The Gandhis,

Jimmy Has Terrible Indigestion

Little Xs for Eyes & Jennifer Evans The Village €15/20, 7.30pm Clockwork Apple double header part 2

■ Spoon The Academy €25, 8pm Cuddle up next to awesome indie troupe ■ Sara Watkins (of Nickel Creek) Whelan’s €17.50, 8.30pm Better than Chad Kroeger (of Nickelback)

Mon Nov 15th

■ I-Con’s Next Beck’s Thing Final Whelans Upstairs Free, 8pm Done our pun work for us.

■ Diana Vickers The Academy €19, 8pm Makes up for lack of X factor with line of Vickers Knickers

■ The Twelves The Button Factory €10, 11pm Brazilian nuts

■ Foals Olympia Theatre €23.50, 8pm They shoot baby horses, don’t they?

Fri Nov 19th

■ Carl Barat Academy 2 €16, 8pm What became of the…?

■ Republic of Loose The Academy €22.50, 8pm Pyro, maniac.

■ Local Natives The Village €16.50. 8pm Neither local nor native, but play here often enough to earn citizenship, at least.

■ Gospel Choir The Button Factory €20, 7.30pm Amen ■ LCD Soundsystem Tripod. €39.50, 7.30pm You wanted a hit. You got three.

■ The Walkmen Tripod €22.50, 7.30pm Don’t forget your AA batteries.

■ Joel Plaskett Crawdaddy €14, 8pm Juno awardy, Juno soundtracky stuff

Tue Nov 16th ■ Paul Weller Olympia Theatre, €44.20 Return of the Modfather, bogey fringe and all

Wed Nov 17th

■ Holy Fuck & Buck 65 Whelans €18, 8.30pm Holy Buck.

■ Paul Weller Olympia Theatre, €44.20

■ Eden + Hayfield Whelans €8, 8pm

Sat Nov 20th

■ John Hiatt The Academy, €33.60, 8pm Cowboys and Indianopolites

■ Young Guns Academy 2 €12.50, 8pm Go for it

■ Miracle Bell Whelans Upstairs €8, 8pm Ring, ring.

■ LCD Soundsystem Tripod. €39.50, 7.30pm

■ Tiger Cooke The Workman’s Club Free, 8pm Once tried to cook a tiger. Boiled away to nothing.

■ Ryan Bingham The Sugar Club €16, 8pm He’s won an Oscar, you know.

Thur Nov 18th

■ Jape + Fionn Regan + And So I Watch You From A Far Whelans €15, 8pm Unholy FMC alliance.

■ Jimmy Eat World Tripod €30, 8pm

Fresh Mexican Grill 2 Wexford Street, Dublin 2 www



Burritos & Blues


■ Joe Brooks Academy 2 €14, 8pm Why do M.O.R. bands always have a song called ‘Superman’ or about ‘Superman’ ■ Matt Berry Crawdaddy €14/€17, 8pm Sanchez! ■ Exodus The Village €tbc, 8pm With Man Must Die

Sun Nov 21st ■ LCD Soundsystem Tripod. €39.50, 7.30pm ■ The Gaslight Anthem Olympia Theatre €23, 8pm Probably not featuring Bruce Springsteen this time.

Mon Nov 22nd ■ Gogol Bordello Olympia Theatre €32.50, 8pm Get your best purple out. ■ UB40 National Stadium from €49.20, 8pm UBBoring ■ Beach House Vicar Street €26, 8pm We once had a teenage dream about Beach House but we shouldn’t talk about that here.

■ Blitzen Trapper The Workman’s Club €13.50, 8pm Don’t be snared. ■ Experimental Music Evening Centre for Creative Practices, 15 Pembroke St. Lwr. €5, 8pm It’s on the tin, silly.

€19.50, 8pm

Is bliss.

Sun Nov 28th

■ Volbeat The Academy, €13.50 Danish metal named after an effing Pokemon.

■ Naked Fish The Sugar Club €15, 8pm The Songs and Tall Tales of Jerry Fish

■ The High Kings Grand Canal Theatre €33.60, 7pm Loathsome paddywhackery peddlers.

Tue Nov 23rd

■ The Stylistics Vicar Street €60, 8pm Philadelphia soul

■ Boyce Avenue The Academy €19.65, 8pm One of a new wave of bands using Google Maps as a promotional tool.

■ Atari Teenage Riot The Button Factory €20, 7.30pm Surely onto MacBook Pro Early-30s Resignation at this stage

■ Klaxons Tripod €25, 8pm Coincidentally also loud and annoying

■ Clockwork Noise Whelans Upstairs €8, 8pm Tick tick tock.

■ Misery Index + Grave Whelans €20, 8pm A cheery night of metal

Wed Nov 24th

Fri Nov 26th ■ The Wedding Present The Academy €19.50, 8pm Annoyingly gifted without the receipt so you can’t bring them back to the shop.

■ Tom Baxter Whelans, €19.50, 8pm Help Baxter pay for his Christmas box

■ Goldfrapp Olympia Theatre €41.70, 8pm Perfect for the cold snap

■ World Trans System Whelans €tbc, 8pm Should be decent Krakow

■ Pyramid Hill Crawdaddy €5/8, 8pm Facepalm.

Thu Nov 25th ■ Tom Baxter Whelans,

■ Steve Ignorant (Crass Songs 1979-1984) The Button Factory €20, 7.30pm

Sat Nov 27th ■ Diversity The O2 €28, 8pm Hearing mixed reports about these guys ■ Goldfrapp Olympia Theatre €41.70, 8pm ■ Codes The Button Factory €15, 8pm Difficult to figure out this lot ■ Fight Like Apes Tripod €19.50, 8pm Hopefully solving the mystery of the flat second album ■ Titus Andronicus Whelans €15, 8pm Tragic bar-rockers ■ Underworld RDS Simmonscourt €39.50, 7.30pm Not a reading of Don DeLillo’s epic ■ The Acorn The Workman’s Club €17, 8pm Some people are nuts for these guys

■ India 99 Whelans €7, 8pm Would trust that flake

Wed Dec 1st

■ Elliot Minor The Workman’s Club €14.50, 8pm Need a key change

■ The Drums The Academy €13.55, 8pm NME train haircuts to play instruments

Mon Nov 29th

Thurs Dec 2nd

■ We are Scientists The Academy €22.50 , 8pm Pissing on the legacies of Cap’n Jazz and J.D. Salinger since ‘05

■ Emptyhead Whelans Upstairs €5, 8pm A band made up of the government’s financial advisors

■ Interpol Olympia Theatre €44.20, 7pm Extradition and post-punk experts

■ Xavier Rudd The Academy €30, 8pm Dear Xavier, stop playing in Dublin so we can think of new puns on your name. TD.

■ Hefty Mondays Whelans Free, 8pm Guest to be confirmed ■ Shrinebuilder The Button Factory €18.50, 8pm Made of metal.

Tue Nov 30th ■ Ellie Goulding Tripod €24.50, 8pm Very soothing ■ Boy & Bear Academy 2 €10 Not a fair contest.

■ The National The Olympia €28.50/€31.50, 8pm Top notch state-sponsored earnest rock

Fri Dec 3rd ■ The Voodoo Angels Whelans Upstairs €tbc, 8pm Wings pinned ■ The National The Olympia €28.50/€31.50, 8pm

Trad November Thursday


■ Blarney Inn 1-2 Nassau Street, D2 Traditional Irish Music Sessions From 8pm, Free

■ Blarney Inn 1-2 Nassau Street, D2 Traditional Irish Music Sessions & Live Irish Dancers

From 8pm, Free ■ Club Nassau 1-2 Nassau Street, D2 Dublin’s Original 80’s Club 11pm, €10/€5 with concession

Saturday ■ Blarney Inn 1-2 Nassau Street, D2 Traditional Irish Music Sessions & Live Irish Dancers

From 8pm, Free ■ Club Nassau 1-2 Nassau Street, D2 Dublin’s Original 80’s Club 11pm, €10

Clubbing weekly November Mondays ■ Upbeat Generation @

Think Tank Think Tank, Temple Bar, D2 Pop, Rock and Soul 11pm ■ Hugh Cooney Don’t Like

The Dice Bar, Queen St, Smithfield, D7 DJ Alley Free ■ King Kong Club The Village, 26 Wexford St, D2 Musical game show 9pm, Free

Mondays Pygmalion, Sth William St, D2 Cabaret + weekly video showcase of work followed by guest DJs 9pm, Free ■ Sound Mondays The Turk’s Head, Parliament St & Essex Gate, Temple Bar, D1 Indie, Rock, Garage and Post Punk 11pm, Free ■ Island Culture South William, 52 Sth William St, D2 Caribbean cocktail party Free ■ Dice Sessions



■ Soap Marathon Monday/

Mashed Up Monday The George, Sth. Great Georges St, D2 Chill out with a bowl of mash and catch up with all the soaps 6.30pm, Free ■ The Industry Night Break for the Border, 2 Johnstons Place, Lr Stephens Street, D2 Pool competition, Karaoke & DJ 8pm

10pm ■ DJ Ken Halford Buskers, Temple Bar, D2 Chart Pop, Indie, Rock 10pm ■ Euro Saver Mondays Twentyone Club and Lounge, D’Olier St, D2 DJ Al Redmond 11pm, €1 with flyer ■ Recess Ruaille Buaille, South King St, D2 Student night 11pm, €8/6 ■ Therapy Club M, Blooms Hotel, D2 Funky House, R‘n’B 11pm, €5


■ Lounge Lizards Solas Bar, 31 Wexford St, D2 Soul music 8pm, Free

Panti Bar, 7-8 Capel Street, D1 Gay arts and crafts night

■ Dolly Does Dragon,

■ Make and Do-Do with

The Dragon, South Georges St, D2 Cocktails, Candy and Classic Tunes 10pm, Free ■ Oldies but Goldies Ri-Ra, Dame Court, D2 Blooming Good Tunes 11pm, Free

Tuesdays ■ C U Next Tuesday Crawdaddy, Old Harcourt St Station, D2 A mix every type of genre guaranteed to keep you dancing until the wee small hours. 11pm, €5

South William, Sth. William St. D2 8pm, Free DJs Izem, Marina Diniz & Lex Woo ■ Tarantula Tuesdays The Turk’s Head, Parliament St & Essex Gate, Temple Bar, D2 Disco, House, Breaks 11pm

■ Play with DJ’s Dany Doll ■ Austin Carter + Company

& Eddie Bolton

B + DJ Dexy

Pravda, Lower Liffey Street, D1 Soul/Pop/Indie/Alternative. 8.30pm - 11.30pm.

Fitzsimons Bar, 21-22 Wellington Quay, Temple Bar, D2 Free, 9pm – 1.30am ■ DJ Darren C Fitzsimons Club, 21-22 Wellington Quay, Temple Bar, D2 Free, 11pm Chart, pop, and dance with a twist ■ Piss-up with Peaches The George, George’s St., D2 Free, 9pm All drinks €4 or less 3 Jagerbombs for €10

■ Taste Solas Bar, 31 Wexford St, D2 Lady Jane with soul classics and more 8pm, Free

■ Sugarfree Ri-Ra, Dame Court, D2 Soul, Ska, Indie, Disco, Reggae 11pm, Free ■ Le Nouveau Wasteland The Dice Bar, Queen St, Smithfield, D7 Laid back French Hip Hop and Groove Free

■ Rap Ireland The Pint, 28 Eden Quay, D1 A showcase of electro and hip hop beats 9pm, Free

■ Star DJs Sin, Sycamore St, Temple Bar, D2 Disco, House, R’n’B 9pm

■ Groovilisation

■ Juicy Beats

Click to play






The Village, 26 Wexford St, D2 Indie, Rock, Classic Pop, Electro 10.30pm, Free ■ Jezabelle The Purty Kitchen, 34/35 East Essex St, Temple Bar, D2 Live Classic Rock 7pm, Free before 11pm ■ The DRAG Inn The Dragon, Sth Great Georges St, D2 Davina Devine presents open mic night with prizes, naked twister, go-go boys and makeovers. 8pm, Free ■ Glitz Break for the Border, Lwr Stephens Street, D2 Gay club night with Annie, Davina and DJ Fluffy 11pm ■ DJ Stephen James Buskers, Temple Bar, D2 Chart Pop, Indie 10pm ■ Funky Sourz Club M, Temple Bar, D2 DJ Andy Preston (FM104) 11pm, €5 ■ Hed-Dandi Dandelion, St. Stephens Green West, D2 DJs Dave McGuire & Steve O ■ Takeover Twentyone Club and Lounge, D’Olier St, D2 Electro, Techno 11pm, €5 ■ John Fitz + The K9s + DJ

St. D2 Stylus DJs Peter Cosgrove & Michael McKenna - disco, soul, house 8pm, Free ■ Wild Wednesdays Twentyone Club and Lounge, D’Olier St, D2 Frat Party €5 entry, first drink free ■ Shaker The Academy, Middle Abbey St, D2 11pm, €8/6 ■ A Twisted Disco Ri-Ra, Dame Crt, D1 80s, Indie, and Electro 11pm, Free

■ DJ Keith P Fitzsimons Club, 21-22 Wellington Quay, Temple Bar, D2 Free, 11pm Classic hits & party pop

Wednesdays ■ Songs of Praise The Village, 26 Wexford St., D2 The city’s rock and roll karaoke institution enters its fifth year. 9pm, Free ■ Hump Pravda, Lower Liffey Street, D1 DJ’s Niall James Holohan & Megan Fox. Indie/rock/alt/ hiphop & Subpop 8.30pm - 11.30 pm ■ Dublin Beat Club Sin è Bar, 14 Upr Ormond Quay, D Showcase live music night 8pm, Free ■ Galactic Beat Club The Turk’s Head, Parliament St & Essex Gate, Temple Bar, D1 Disco, Boogie, House, Funk and Balearic 11pm, Free ■ Blasphemy Spy, Powerscourt Town Centre, South William St, D2 Upstairs Indie and pop, downstairs Electro 11pm, €5 ■ Beatdown Disco South William, Sth. William



■ Space N’Veda The George, George’s St., D2 Free, 11pm Exquisite Mayhem with Veda, Davina & Guests

Thursdays ■ Sounds@Solas Solas, Wexford St, D2 9pm-1am, Free

■ Synergy Solas Bar, 31 Wexford St, D2 All kinds of eclectic beats for midweek shenanigans 8pm, Free

■ Soul @ Solas Solas Bar, 31 Wexford St, D2 Mr Razor plays the best in Soulful beats and beyond. International guests too! 8pm, Free

■ Dean Sherry Sin, Sycamore St, Temple Bar, D2 Underground House, Techno, Funk 9pm

■ Extra Club M, Blooms Hotel, D2 Kick start the weekend with a little extra 11pm, €5, Free with flyer

■ 1957 The Dice Bar, Queen St, Smithfield, D7 Blues, Ska Free

■ Sidetracked Crawdaddy, Old Harcourt St Station, D2 Indie, Disco, Loungey House 8pm, Free

■ Soup Bitchin’ Panti Bar, 7-8 Capel St, D1 Gay student night

■ Off the Charts Twentyone Club and Lounge, D’Olier St, D2 R&B with Frank Jez and DJ Ahmed 11pm, €5

■ The Song Room The Globe, 11 Sth Great Georges St, D2 Live music 8.30pm, Free

Mick B Fitzsimons Bar, 21-22 Wellington Quay, Temple Bar, D2 Free, 9 – 1.30am

■ DJ Darren C Fitzsimons Club, 21-22 Wellington Quay, Temple Bar, D2 Chart, pop & dance with a twist Free, 11pm

■ First Taste Crawdaddy, Old Harcourt St Station, D 2 A new weekly party playing all new and advance music in The Lobby Bar 7pm, Free ■ Unplugged @ The Purty The Purty Kitchen, 34/35 East Essex St, Temple Bar, D2 Live acoustic set with Gavin Edwards 7pm, Free before 11pm ■ Space ‘N’ Veda The George, Sth Great Georges St, D2 Performance and dance. Retro 50s, 60s, 70s 9pm, Free before 10pm, after 10pm €8/€4 with student ID ■ DJ Alan Healy Buskers, Temple Bar, D2 Chart Pop, Current Indie and Rock Music 10pm ■ Mud The Twisted Pepper, 54 Middle Abbey St, D2 Bass, Dubstep, Dancehall 11pm, €10 (varies if guest) ■ Sexy Salsa Dandelion Café Bar Club, St. Stephens Green West, D2 Latin, Salsa 8pm, Free ■ Rob Reid + EZ Singles +

DJ Karen G Fitzsimons Bar, 21-22 Wellington Quay, Temple Bar, D2 Free, 9pm – 1.30am DJ Darren C

■ Muzik The Button Factory, Curved St, Temple Bar, D2 Up-Beat Indie, New Wave, Bouncy Electro 11pm

D2 Alternative grunge 11pm, €5/3 ■ Eamonn Sweeney The Village, 26 Wexford St, D2 10pm ■ Jason Mackay Sin, Sycamore St, Temple Bar, D2 Dance, R’n’B, House 9pm ■ Fromage The Dice Bar, Queen St, Smithfield, D7 Motown Soul, Rock Free ■ Bad Kids Crawdaddy Indie night extraordinaire 10.30pm, Free ■ Control/Delete Andrews Lane Theatre, Andrews Lane, D2 Indie and Electro 11pm, €3/4 ■ Davina’s House Party The George, Sth Great Georges St, D2 Drinks Promos, Killer Tunes and Hardcore Glamour 9pm, Free before 11pm, €4 with flyer ■ After Work Party The Purty Kitchen, 34/35 East Essex St, Temple Bar, D2 Live Rock with Totally Wired. 6pm, Free before 11pm ■ Big Time! The Bernard Shaw, 11 - 12 Sth Richmond St, Portobello, D2 You Tube nights, hat partys... make and do for grown ups! With a DJ.

■ The Bionic Rats The Turk’s Head, Parliament St & Essex Gate, Temple Bar, D1 Dance, Jump and Skii to Reggae and Ska Free, 10pm

■ Choicecuts presents: The

■ DJ Dexy Fitzsimons Bar, 21-22 Wellington Quay, Temple Bar, D2 Energetic blend of dancefloor fillers Free, 11pm

Pygmalion, South William St, Dublin 2 Hip hop 9pm, free ■ Guateque Party Bia Bar, 28-30 Lwr Stephens St, D2 Domingo Sanchez and friends play an eclectic mix 8.30pm ■ The LITTLE Big Party Ri-Ra, Dame Crt, D1 Indie music night with DJ Brendan Conroy 11pm, Free ■ Mr. Jones & Salt The Twisted Pepper, 54 Middle Abbey Street, D2 House, Electro, Bassline 11pm, €8/5 ■ Alternative Grunge Night Peader Kearney’s, 64 Dame St,

■ Eamonn Barrett 4 Dame Lane, D2 Electro Indie Free, 10pm ■ Global Zoo Hogans, 35 Sth Gt Georges St, D2 Groovalizacion bringing their infectious and tropical selection including Cumbia, Samba, Dub, Reggae, Balkan, Latin and Oriental Sound 9pm, Free ■ DJ Jim Kenny Buskers, Temple Bar, D2 Chart Pop, Current Indie and Rock Music 10pm

■ Afrobass South William, 52 Sth William St, D2 Dub, Ska, Afrobeat 9pm, Free ■ Foreplay Friday The Academy, Middle Abbey St, D2 R ‘n’ B, Hip Hop, Garage 10.30pm, €10 after 11pm ■ Hells Kitchen The Dice Bar, Queen St, Smithfield, D7 Funk and Soul classics Free

■ Thirsty Student Purty Loft, Dun Laoghaire Student Night, All Drinks €3.50 10pm, €5 entry ■ Davina’s Club Party The George, George’s St., D2 Free, 11pm Davina Divine hosts with Peaches Queen, Bare Buff Butlers & Special Guests

■ Friday Night Globe DJ The Globe, 11 Sth Great Georges St, D2 DJ Eamonn Barrett plays an eclectic mix 11pm, Free ■ Ri-Ra Guest Night Ri-Ra, Dame Court, D2 International and home-grown DJ talent 11pm, €10 from 11.30pm

Fridays ■ Housemusicweekends Pygmalion, Sth. William St., D2 House music magnet with special guests each week 12pm, Free

■ T.P.I. Fridays Pygmalion, South William St, D2 Pyg residents Beanstalk, Larry David Jr. + guests play an eclectic warm-up leading up to a guest house set every week. 9pm, Free

■ Thursdays @ Café En Seine Café En Seine, 39 Dawson St., D2 DJs and dancing until 2.30am. Cocktail promotions. 8pm, Free

■ Cosmopolitan Club M, Anglesea St, Temple Bar, D1 Chart, Dance, R&B 11pm, €9 with flyer

■ Jugs Rock O’Reillys, Tara St. Late Rock Bar, All Pints €3.20, Pitchers €8 9pm, €5

■ Mofo + One By One + DJ

Jenny T

■ Fridays @ Café En Seine Café En Seine, 39 Dawson St, D2 DJS and dancing until 3am. Cocktail promotions 8pm, Free

■ Tanked-Up Tramco Nightclub, Rathmines Student Night, Drinks From €2 10:30pm, €5

■ NoDisko Pravda, Lower Liffey Street, D1 Indie/Rock N Roll/ Dance 10pm – 2.30pm.

Fitzsimons Bar, 21-22 Wellington Quay, Temple Bar, D2 Free, 9pm – 1.30am

Karaoke with Cormac and Stevo from 6pm. Budweiser promotions. DJs until late.

■ The Odeon Movie Club The Odeon, Old Harcourt St. Station, D2 Classic Movies on the Big Screen at 8pm. Full waiter service and cocktails from €5. June - Dark Comedy. 8pm, Free

■ The Panti Show Panti Bar, 7-8 Capel St, D1 Gay cabaret. 10pm

■ Noize Andrews Lane Theatre, Andrews Lane, D2 Student night with live bands, Indie and Electro 9.30pm, €5 or €8 for two people with flyer


■ The Beauty Spot Dakota Bar, 8 South William Street, Dublin 2. A new night of Fashion, Beauty, Shopping and Drinks in association with Style Nation and sponsored by Smirnoff. 7pm, Free

■ Late Night Fridays The Sugar Club, 8 Lwr. Leeson St, D2 Residents include The Burlesque and Cabaret Social Club & Choice Cuts 11pm ■ War Andrew’s Lane Theatre Indie, Electro and Pop 10pm, Free before 11pm, €7/€10 ■ Al Redmond Sin, Sycamore St, Temple Bar, D2 R’n’B, House, Chart 9pm

■ Hustle The Odeon, Old Harcourt St. Station, D2 Dance floor Disco, Funk and favourites. All Cocktails €5/. Pints, Shorts & Shots €4 10pm, Free

■ Fridays @ V1 The Vaults, Harbourmaster Place, IFSC, D1 Progressive Tribal, Techno and Trance 10pm, €5 before 11pm, €10 after

■ Friday Hi-Fi Alchemy, 12-14 Fleet St, D2 Rock, Funky House and Disco 10.30pm ■ Disco Not Disco Shine Bar, 40 Wexford St, D2 Disco, house, funk & soul 9.30pm ■ Fridays @ The Turk’s Head The Turk’s Head, Parliament St & Essex Gate, Temple Bar, D1 Live guest bands and DJs 11pm, Free ■ Rotate Solas Bar, 31 Wexford St, D2 Oliver T Cunningham mixes it up for the weekend! 8pm, Free

■ Sticky Disco The Purty Kitchen, 34/35 East Essex St, Temple Bar, D2 A gay techno electro disco in the club and indie, rock, pop, mash and gravy in the main room 10pm, Free before 11pm, €7 after ■ Sub Zero Transformer (below The Oak), Parliment St, D2 Indie, Rock, Mod 11pm, Free ■ Stephens Street Social Club Bia Bar, 28/30 Lwr Stephens St, D2 Funk, Soul, Timeless Classics

■ Friday Tea-Time Club Break for the Border, Johnston’s Place, Lower Stephens St, D2

■ Panticlub Panti Bar, 7-8 Capel St, D1 DJ Paddy Scahill Free before 11pm, €5 with flyer, €8 without ■ Music with Words The Grand Social, Lwr. Liffey St, D1 Indie, Ska, Soul, Electro 9.30pm, Free ■ Processed Beats Searsons, 42-44 Baggot St. Upper, D4 Indie, Rock, Electro 9pm, Free ■ The Bodega Social Bodega Club, Pavilion Centre, Marine Rd, Dun Laoghaire, Co. Dublin Soul and Disco with Eamonn Barrett 11pm, €10 (ladies free before midnight) ■ Scribble The Bernard Shaw, 11 - 12 Sth Richmond St, Portobello, D2 Funk, House, Dubstep, Hip Hop 8pm, Free ■ Room Service Feile, Wexford St., D2 Latin, Funk, Disco, uplifting Choons and Classics 9pm, Free ■ Frat Fridays Twentyone Club and Lounge, D’Olier St, D2 Student night with drinks promos and DJ Karen 10pm ■ John Fitz + The K9s + DJ

Darren C and DJ Mick B Fitzsimons Bar, 21-22 Wellington Quay, Temple Bar, D2 Free, 8pm – 2.30am ■ DJ Ronan M and DJ Ross Fitzsimons Club, 21-22 Wellington Quay, Temple Bar, D2 Funky Friday and music mayhem Free, 11pm

■ Anto’s X Factor The George, George’s St., D2 Free, 9pm The search for Dublin’s singing sensation is back! Prize €1,000 & Professsional Recording Session followed by DJ Karen

Saturdays ■ Shindig Shebeen Chic, Georges St, D2 Each and every Saturday you’ll find the Shindig Crew rocking Shebeen Chic’s quirky Bar with an eclectic mix of music to move to. Free, 8pm ■ Konstrukt The Grand Social, Lwr. Liffey St, D1 DJ Eamonn Barrett. Indie/ Electro/Party Anthems. 10pm - 2.30a. ■ Propaganda The Academy, Middle Abbey St. D2 British indie disco conglomerate 11pm, €5 ■ Solar The Bull and Castle, 5 Lord Edward St., D2 Soul, Funk, Disco 11pm, Free ■ Squeeze Solas Bar, 31 Wexford St., D2 Aidan Kelly does his thing. Expect the unexpected. 8pm, Free ■ A Jam Named Saturday Anseo, Camden St., D2 DJs Lex Woo, Mr. Whippy, Matjazz, Warm DJ & friends. Jazz, disco, breaks, latin, hip-hop, house, afrobeat, funk, breakbeat, soul, reggae, brazilian, jungle. 7pm, Free ■ The Matinee Brunch Club The Odeon, Old Harcourt St. Station, D2 Super family friendly brunch club. Kids movies on the big screen at 3PM. 12pm – 6pm, Free

■ Green Sunrise The Turk’s Head, Parliament St & Essex Gate, Temple Bar, D1 Funky club house, Elektronika and Disco with some guilty pleasures Free

■ Dizzy Disko, Andrews Lane Theatre, Andrews Lane, D2 11pm, €10

■ Fridays @ 4 Dame Lane 4 Dame Lane, D2 Rock n Roll with Rory Montae in the bar while Aoife Nicanna and Marina play House and Latino Breaks and Beats in the club 10pm, Free

■ KISS Twentyone Club and Lounge, D’Olier St, D2 Keep It Sexy Saturdays with DJ Robbie Dunbar 10pm, Free before 11pm, €8 after

■ Basement Traxx Hogans, 35 Sth Gt Georges St, D2 Freestyle club with DJ’s Half Dutch and Dejackulate spinning funk breaks, hip hop, ska, reggae and party nuggets 10pm, Free

■ Saturday with Resident DJ Club M, Blooms Hotel, D2 Chart, Dance and R&B 10:30PM, €15/€12 with flyer

■ Let’s Make Party The Village, 26 Wexford St, D2 With DJ Mikki Dee 10pm, Free ■ DJ Barry Dunne Buskers, Temple Bar, D2 Chart Pop, Current Indie and Rock Music 10pm



■ Viva! Saturdays The Turk’s Head, Parliament St & Essex Gate, Temple Bar, D1 Retro club with house, electro and 80s 11pm, free ■ Saturdays @ Café En Seine Café En Seine, 39 Dawson St, D2 DJs and dancing until 2.30pm. Cocktail promotions 10pm, Free ■ Guest band + DJ KK and

DJ Keith P Fitzsimons Bar, 21-22 Wellington Quay, Temple Bar, D2 New live band plays every Saturday night 8pm, Free ■ DJ Dexy and DJ Aido Fitzsimons Club, 21-22 Wellington Quay, Temple Bar, D2 Dublin’s biggest party night 11pm, Free ■ Saturdays @ Break for the

Smithfield, D7 Soul, Funk, Disco Free ■ Saturdays @ V1 The Vaults, Harbourmaster Place, IFSC, D1 R ‘n’ B, Soul and Hip Hop with regular guest DJs ■ Wes Darcy Sin, Sycamore St, Temple Bar, D2 R’n’B 9pm

Border Lower Stephen’s St, D2 Current chart favourites from DJ Eric Dunne and DJ Mark McGreer. 1pm, Free

■ Basement Traxx Transformer (below The Oak), Parliment St, D2 Indie, Rock 11pm, Free

■ Transmission The Button Factory, Curved St, Temple Bar, D2 Indie and dance with international guests 11pm, varies

■ Downtown Searsons, 42-44 Baggot St. Upper, D4 Indie, Soul, Chart 10pm, Free

■ Pogo The Twisted Pepper, 54 Middle Abbey St, D2 House, Funk, Techno 11pm, €10 (varies if guest)

■ Strictly Handbag Bodega Club, Pavilion Centre, Marine Rd, Dun Laoghaire, Co. Dublin 80s with DJ Mark Kelly 10pm, €10

■ Pentagon POD and Tripod, Old Harcourt Station, Harcourt St, D2 Access all areas at the Pod complex with local residents and special guest DJ slots over five rooms 11pm, €12

■ Toejam The Bernard Shaw, 11 - 12 Sth Richmond St, Portobello, D2 Afternoon: Car boot sales, film clubs, music lectures, t-shirt making etc. Later on: Resident DJs playing Soul, Funk, House, Electro

■ Flirt Alchemy, 12-14 Fleet St, D2 Sultry, Funky and Sexy Beat alongside Chart Hits 10.30pm

■ Sidesteppin’ Bia Bar, 28/30 Lwr Stephens St, D2 Old School Hip Hop, Funk 45s, Reggae 8pm, Free

■ The Weird Scientist Eamonn Doran’s, 3a Crown Alley, Temple Bar, D2 11pm, €8/5 ■ Laundry Hogans, 35 Sth Gt Georges St, D2 Bumpin House, Techno, Disco, Nu Disco 10pm, Free ■ Sugar Club Saturdays The Sugar Club, 8 Lwr. Leeson St, D2 Salsa, Swing, Ska, Latin 11pm, €15 ■ Reloaded The Academy, Middle Abbey St, D2 Commercial Electro 10:30pm, €5 before 12, €8 after ■ Saturday Night Globe DJ The Globe, 11 Sth Great Georges St, D2 DJ Dave Cleary plays an eclectic mix 11pm, Free ■ Space... The Vinyl Frontier Ri-Ra, Dame Court, D2 Soul, Funk, Disco, Electro with DJ’s Glen and Gary from Beatfinder Records 11pm, Free ■ Irish Reggae Dance Peader Kearney’s, 64 Dame St, D2 Reggae 10pm, €5 ■ The Promised Land The Dice Bar, Queen St,

■ Saturday @ The Village The Village, 26 Wexford St, D2 Pete Pamf, Morgan, Dave Redsetta & Special Guests 11pm ■ Whigfield Pygmalion, Sth. William St., D2 House and techno til late, with special guests each week 10pm, Free ■ DJ Karen @ The Dragon The Dragon, Sth Great Georges St, D2 House music 10pm ■ Beauty Spot Karaoke The George, Sth Great Georges St, D2 Karaoke and DJ Miguel Gonzelez playing super sexy Spanish House. 9pm, Free before 10pm, €10 after ■ Basement Club Panti Bar, 7-8 Capel St, D1 Pop and Electro

■ Saturdays @ 4 Dame Lane 4 Dame Lane, D2 Goldy mixes beats/breaks/ hip hop and funk in the bar and Gaviscon plays everything under the sun in the club 10pm, Free

Rock, Indie, Funk, Soul 9pm, Free ■ Gay Cabaret The Purty Kitchen, 34/35 East Essex St, Temple Bar, D2 Gay cabaret show 9pm, Free before 11pm

■ Eardrum Buzz Hogans, 35 Sth Gt Georges St, D2 House party vibes with Thatboytim playing mix of dance floor classics with of hip hop, reggae, ska, rock, electro and teenage memories. 10pm, Free

■ 12 Sundays The Bernard Shaw, 11 - 12 Sth Richmond St, Portobello, D2 Funk, Disco, House 6pm – 12am, Free ■ DJ Karen The George, Sth Great Georges St, D2 Pop Commercial and Funky House Free before 11pm, €5 with flyer, €8 without

■ DJ Stephen James Buskers, Temple Bar, D2 Chart Pop, Current Indie and Rock Music 10pm

■ The George Bingo with

Shirley Temple Bar

■ Rocked O Reillys, Tara St. Launching 9th October with LLUTHER, Rock DJ,All pints €3.20, Pitchers €9 9pm, €5

The George, Sth Great Georges St, D2 Bingo & Cabaret with Shirley Temple Bar 8.30pm, Free

■ Saturdays @ Purty Loft Purty Loft Nightclub, Dun Laoghaire Funky House & RnB DJs, 10pm, €10

■ Elbow Room South William, 52 Sth William St, D2 Jazz, Soul, Disc & Latin 8pm, Free


■ Alan Keegan + One By

■ Ear Candy Solas Bar, 31 Wexford St, D2 Disco tunes and Funk Classics to finish the weekend. 8pm, Free

Fitzsimons Bar, 21-22 Wellington Quay, Temple Bar, D2 9pm, Free

■ Jitterbop The Grand Social, Lwr. Liffey St, D1 DJ Oona Fortune. Rockabilly/ Swinging Sounds. 8pm - 11pm. (2.30am on bank holidays)

Hogans, 35 Sth Gt Georges St, D2 Power FM curates a night of sights & sounds with Dublin based Arts collective Tinderbox providing visuals and Power FM’s DJ’s playing Soul to Rock n Roll to Punk 7pm, Free

One + DJ Darren C

■ M.A.S.S (music/arts/sights/


■ The Matinee Brunch Club The Odeon, Old Harcourt St. Station, D2 Super family friendly brunch club. Kids movies on the big screen 3PM. 12pm – 6pm, Free

■ Get Over Your Weekend Panti Bar, 7-8 Capel St, D1 Lounge around with Penny the Hound. All drinks half plrice all day. 1pm, Free

■ Sundown Bia Bar, Lwr. Stephen’s St., D2 Chill-out house, funk, electronics and acoustic 10pm, Free

■ DJ Paul Manning Buskers, Temple Bar, D2 Chart Pop, Current Indie and Rock Music 10pm

■ The Latin Beat The Odeon, Old Harcourt St. Station, D2 Learn to dance Salsa & Samba from some of the best instructors in Ireland. Classes from 6pm, club from 8pm - late, Free

■ Sunday Roast The Globe, Georges St, D2 9pm, Free ■ Magnificent 7’s 4 Dame Lane, D2 The Ultimate Single’s Night Free, 7pm

■ Dancehall Styles The Button Factory, Curved St, Temple Bar, D2 International dance hall style 11pm, €5

■ Saturday @ The Wright

Venue The Wright Venue, South Quarter, Airside Business Park, Swords, Co Dublin Rock, Pop, Hip-hop, Dance 10pm ■ Punch The Good Bits Indie/Disco in one room and Techno/House and Electro in the main room 11pm, €2 between 11-11:30

■ The Workers Party Sin, Sycamore St, Temple Bar, D2 With DJ Ilk 9pm ■ Father Vincent Half-Price Pygmalion, Sth. William St., D2 Half-price drinks and guest DJs All day, Free/€5 after 6pm ■ Hang the DJ The Globe, 11 Sth Great Georges St, D2

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 visual arts library .631):Â&#x2DC;4-*55-& 12th to the 17th April, welcoming the Gare them, I was acting and Judy was directing. arts visual library The Beautiful Girl 806-% visual arts library St Lazare Players with their double bill of Then we moved away from Paris and we Madcap Theatre Company (&.3&563/4 Beckett plays, The End and The Calmative. started doing our own work but under that     

Nov 1st - Nov 6th

heads.â&#x20AC;? There was originally a group called Gare St themeexpectation text as werenâ&#x20AC;&#x2122;t theofmain Youâ&#x20AC;&#x2122;ll find to play, in form, with no controlled. extravagant sets8pm awith fear and misuse. and to how social spaces are designed and ThursdayFor to Saturday, 12-6pm.     to so we surething. how     we were going theâ&#x201A;Ź18. End and the Calmative. more Oscar ticket Ifmonologue we had shot in color we would have had a lot upon of their Concha Buika Faith â&#x2013; â&#x2013;  Marianne â&#x201A;Ź13.50,        win this year is a reflection of peopleâ&#x20AC;&#x2122;s 16-27 March. Tickets cost â&#x201A;Ź15 - â&#x201A;Ź25 one night in French for two weeks. I think I lost about

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Lazare in Paris, setHall up by an American Bobby One Tree out as youâ&#x20AC;&#x2122;re going alongKirk through Bandrehearsâ&#x2013; Donal National Concert Endorsed Hill

details see â&#x2013; Philip Glass Grand within Canal Thea preciation for whatâ&#x20AC;&#x2122;s happening the J JJ Smyths National film Concert Hall There is more â&#x201A;Ź25-35, 8pm â&#x201A;Ź39.20/41.50, 7.30 and Barnardos. industry. variety in Japane â&#x2013;  Big Time! Dâ&#x20AC;&#x2122;Olier St, D2 Smithfield, D7 â&#x201A;Ź10, â&#x201A;Ź15-40, 8.30pm West African singer, Spanish A Mars a day...ster now. Our films arenâ&#x20AC;&#x2122;t falling into certain R&B with Frank Jez and DJ Blues, Ska The Bernard Shaw, 11 -9pm 12 Sth St, Ahmed Free Richmond St, Portobello, D2 categories.plays The new generation of film-m â&#x2013;  Scissor Sisters Master ofcal minimalism music. 11pm, â&#x201A;Ź5 quite keen to explore the â&#x2013;  outside market and Temper â&#x2013;  Lesley Garrett You Tube nights, hat partys... Olympia Theatre solo piano. ed Dancâ&#x2013;  Soup Bitchinâ&#x20AC;&#x2122; make and do for grown ups! With ing an international audience into considerat National Concert Hall Whelanâ&#x20AC;&#x2122;s â&#x201A;Ź44.20, 7.30pm â&#x2013;  Muzik a DJ. Panti Bar, 7-8 Capel St, D1 making their films. In thatâ&#x201A;ŹTBC, respect8pm itâ&#x20AC;&#x2122;s a very â&#x2013;  Blondie â&#x201A;Ź25-55,writer/director 8pm It would be cheaper to stick Henry and Sunny, Dublin-based together twenty years after their original setting Gay student night The Button Factory, Curved St, kind of filmmaking to what we had in the 19 â&#x2013;  Mary Black Vicar Street with the Upstairs. Plus PĂĄdr scissors in your ears yourself. Fergal Rockâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;melancholic tale of true date love against â&#x2013;  The Temple Bar, D2 Rescheduled Panti Show Acoustic and they meet for the first time in a cafĂŠ in Moscow certainly is an interesting and encouraging ti â&#x2013;  Alice Jago Olympia â&#x201A;Ź49.20, 8pm RTE Concert Orchestra & Band. And less painful. all oddsâ&#x20AC;&#x2122;, is Up-Beat a uniqueIndie, vision quite beautifully realâ&#x2013;  The Song Room New Wave, Bouncy Panti Bar, 7-8discuss Capel St, each D1 Theatre where they otherâ&#x20AC;&#x2122;s lives. Japanese cinema. ized. Shot in high-contrast black and white, Henry Whelanâ&#x20AC;&#x2122;s â&#x201A;Ź34, 7.30pm Heart of Glass beginning to Electro Gay cabaret. The Globe, 11 Sth Great Georges exford and Sunny imagines a complicated relationship 11pm 10pm St, D2 Friday Van Diemens Redmondand Oâ&#x20AC;&#x2122;T â&#x2013;  The â&#x201A;ŹTBC, 8pm Once you go So Black, never show cracks. Can you tell us about the â&#x2013;  programme w These plays are notname. related though are they? They Acted and directed by husband and18 wifeJune company at ayou certain point then,  


    pm between an unemployed clown and his high-profile he Mighty Live music8No Guests Whelanâ&#x20AC;&#x2122;s Jago bomb. Bomb in and the good go back have chosen these particular films? two stone in weight! It was tough but fascinating. stranger to the dark daunting, seasoned arenâ&#x20AC;&#x2122;t sequels? team, Conor Lovett and Judy Hegarty it made sense to differentiate ourselves and mber â&#x2013; who 8.30pm, Free Noize Mofo + One By One + DJ love interest inhabit very different worldsâ&#x2013; that als if you needâ&#x2013;  anything itâ&#x20AC;&#x2122;s been Tickets: â&#x201A;Ź15 /FouĂŠrĂŠâ&#x20AC;&#x2122;s 12 (concs) / 10sees (group) â&#x2013;  Mary Black Pearl Jam National ConcertoH sense obviously. We else. try toAnd promote a deeper understanding Then a year on a different special project forâ&#x201A;ŹTBC, the 8pm thespian Olwenoff latest is her take No, they are ago bothI worked completely characters Rounding The Abbeyâ&#x20AC;&#x2122;s By Popular Demand Pallas Contemporary Projects something of a to Andrews Lane Theatre, Andrews Jenny Lovett, The End has role been described asthe the tragically threaten to keep them apart, despite their T formalise our own company. We already Astage show based on the words, life and works of the our experience of working with Beckett that society and culture. A lot of the8pm filmsâ&#x20AC;&#x2122; theme Island All-Day â&#x2013;  Popical Olympia Theatre The O2 â&#x201A;Ź20, They just canâ&#x20AC;&#x2122;t get enough. European presidency in France. I was put together as the sole survivor of Sodome, a city which cenfrom completely different plays. The only link is that season, which saw the welcome (Terminus) and not hiddenperfect gem best in Dublinâ&#x20AC;&#x2122;s artistic landscape, secreted â&#x2013;  First Taste D2 Bar, 21-22 Wellington faun efforts. Lane, introduction to Beckett â&#x20AC;&#x201C; we talked Fitzsimons had used thatand namedid so an weadaptation became Gare St that aim. We â&#x20AC;&#x2DC;Achill have five for great Irish poet, withboth aTemple French director turies before enjoys a utopian existence of joy, excess you really donâ&#x20AC;&#x2122;t need compliment to put anything else Pop Sophie Delila â&#x2013;  Harcourt â&#x201A;Ź34, 7.30pm â&#x201A;Ź59.80/65.70, 6.30pm in films Octoberâ&#x20AC;&#x2122; so welcome (The Sea Farer) return tocommercial the Abbey they share anExtravaganza author we and a location. The in play from the larger tourist haunts and Student night with live bands, Quay, Bar, D2 Crawdaddy, away Old St This latest short from Rock assembles an ac C^^S`4]e\SaAb t, D1 and I hope that I piece have selected a good combi to the star of the one-man shows, Conor Lazare Players, Ireland. French of two of Roddy Doyleâ&#x20AC;&#x2122;s books â&#x20AC;&#x201C; Paula Spencer and orgies until terror deals one fatal and devastating Achilles â&#x2013;  Whelanâ&#x20AC;&#x2122;s Whelanâ&#x20AC;&#x2122;s Black ops Grungeâ&#x20AC;&#x2122;s not dead and Peacock stages of some of its most talked-about up there. That wonâ&#x20AC;&#x2122;t apply to every of Eoin. theIndie Electro Free, 9pm 1.30am Station, DTomas 2 entities Mac that complished populate cityand centre. isnâ&#x20AC;&#x2122;t contributed stands on â&#x20AC;&#x201C;its own feet however, so audiences wouldnâ&#x20AC;&#x2122;t team that hasWhich undoubtedly that people will enjoy. The press responses to imag and The Woman Who Walked into Doors. I grabbed blow. In heritâ&#x20AC;&#x2122;s solo in the premiere Lovett. shows, is Little Gem, the winning debut Whelanâ&#x20AC;&#x2122;s 8pm â&#x201A;ŹFREE, 9.30pm, â&#x201A;Ź5 orworld â&#x201A;Ź8 for two people A party playing allperformance to â&#x201A;Ź8, say that inaccessible, in award fact in the fish bowl C new weekly have to be 3pm familiar with Chekhov to enjoy writing but itâ&#x20AC;&#x2122;s a kindthem of anhave aesthetic that to the filmâ&#x20AC;&#x2122;s positive reception on the festival necessarily circuit.BS[^ZS0O` been very positive. We have Pony that experience because I thought it was a fantastic of a play by acclaimed Frenchman Laurent GaudĂŠ, with flyer â&#x2013; less new and advance musicactor/writer inHere The from Elaine Murphy. since its The Bionic Rats of Parisien Dublin city, itâ&#x20AC;&#x2122;she just past the little plastic diver, Turin Brakes Trainsfor us over the â&#x2013;  Zodiac Session â&#x2013; Ever â&#x2013;  The You have quite alaunch, strongfeaturing affiliation â&#x201A;Ź7, with 8pm chanteuse. Up the Compilation ute discusses the filmâ&#x20AC;&#x2122;s depiction of a love the play. 2cPZW\ weâ&#x20AC;&#x2122;ve found has formed M animation Miyazaki who is quite w opportunity and now, more and more, I want to work FouĂŠrĂŠ rises the settled ashes encased in to or costumes. Lobby BarReunion The Turkâ&#x20AC;&#x2122;s Head, Parliament St &Yeh much-raved-about appearance as part ofasalt, the Fringe In Little Gem the role ofest Amber provedfrom the most tucked awayfrom between Stoneybatter and Smithfield. Whelanâ&#x20AC;&#x2122;s Whelanâ&#x20AC;&#x2122;s Bruxelles Upstairs. escalier. Land Lovers, Deadlies, ordinary, and how they stumbled across lead actor First things first, can you tell us little bit Beckettâ&#x20AC;&#x2122;s work. Is there any reason for this tre, Sth from Spirited Away and Howlâ&#x20AC;&#x2122;s Moving Cas years.toBut, you like, in the lasttobig 10 years with this inbetweeness.â&#x20AC;? relay her2008, account ofgo theslightly event. A piece 7pm, Freeby â&#x2013;  Thursdays findexperience that a lot of the timehad when I go into a Gate, Temple Bar, D1 CafĂŠ your En Seine in it has played to sold out audiences inof Ed- Essex theâ&#x20AC;&#x153;I new Dublin a significant difficult cast.ifâ&#x20AC;&#x153;This play has aseems really Uhlman (Performed by@â&#x201A;Ź23, Daniel Reardon /Has Y If Fred youâ&#x20AC;&#x2122;re willing to offprovocative road with There beelderly a strongFree, sense9pm of fragility in 9^gZXiZYWn Paulo Braganca. 8pm â&#x201A;ŹTBC, 8pm Groom and (honestly) much Have you worked with Brian Frielâ&#x20AC;&#x2122;s plays in the past? about the two plays coming up in Project other than admiration for his work? was a huge hit in Japan. It quite a deceptiv It effect was theatre inonParis a producing? year ago FouĂŠrĂŠon first work, Sodome, My Love, into English Dance, Jump and Skii torecognise Reggae CafĂŠ En Seine, 39snaring Dawson St.,by D2 I almost donâ&#x20AC;&#x2122;t thewhen characters stage. weâ&#x20AC;&#x2122;ve because done three plays other inburgh, London and New York, its scribe what youâ&#x20AC;&#x2122;re fanbase, the Kay roleby is particularly so muchwriters. fun,concerning andWe to is the city centre strolling, take atranslated lookey-loo in this month, work, Adapted for the stage by GdcVcL^abdi Chris Brown Sami Moukaddem â&#x2013;  â&#x2013;  The worst a It across Upstairs. The lighttoatbethe end at a younger Weekliygrammar acousticof sb much more. Upstairs. Yes, my Brian Friel play was in admiration. 1966, as aWith kid in CM aimed audience stumbled GaudĂŠâ&#x20AC;&#x2122;s Printed on the some FouĂŠrĂŠ herself, notartists only poses questions about thebrakes hu- outside Arts Centre â&#x20AC;&#x201C; The End and The Calmative? would be Weâ&#x20AC;&#x2122;d â&#x2013;  and SkaI first DJs and dancing until 2.30am. Unplugged @some The Purty wouldnâ&#x20AC;&#x2122;t meet them in200% my everyday life. serious accolades ranging the Fishamble our work isabout a script. response to both physiget them toThe listen toPortuguese what aappears 19by year old has to of say where Australian Pat Foster and Jen Berean architecture, does all this relate back to tha did the Good Thief Conor MacPherwork to do with costumes and props so our choice cast it. Two plumbers turned up at our The concept of clowns asfrom the latest casualtiesthe of Typically the gger) Ronan Wilmot) Vicar Street JJ Smyths Toyota Prius. of the tunnel. Abbey The Loves of Cass McGuire. However, always expect Miyazaki to deliver a deeper m random publication, the title (Sodome, ma douce in man condition but magnifies mankindâ&#x20AC;&#x2122;s inherent need Free, 10pm Cocktail promotions. The Purty Kitchen, 34/35 East Little Gem, I think, the audience members recognise MY Writing award theto 2009 Carol Tambor structures of a given environment, sothings on that and to really care aboutdoor it,built you really need someone Theyâ&#x20AC;&#x2122;re short written bywith Samuel bigtofans Beckett, question. Whatâ&#x20AC;&#x2122;s haveNew opened a   

new exhibition coincide their anxietyâ&#x20AC;&#x2122;? shootof in black andno white simplified producer Orlaâ&#x20AC;&#x2122;s one daysurface to re-fit her bathrecession isstories a to unique one. What made you settle cal on andbesocial son, we did Swallow by Michael Harding, The New Theatre May â&#x2013; Hilda â&#x201A;Ź56, 8.30pm â&#x201A;Ź10, 8pmof interest than the suggests. A Stranger of Min ofsoon the greatest acting experiences I particularly have ever French) intrigued her. Immediately she set about findto destroy all that he residency. fears. 8pm, Free for a woman who only one Essex St, Temple Bar, D2 themselves more in the characters, if In response to the level shown in last yearâ&#x20AC;&#x2122;s Best of Edinburgh. Not bad as as we landed Dublin we quickly started strong in the role.â&#x20AC;? ,-! .        

international studio This sense of fragility in the work is intended level. I also think it looks much morewhile atmospheric. room.last Sheyear, textedwe meinteresting saying one of them bedirector named y Beckett from kind of â&#x2013; DJ Dexy interesting about what weâ&#x20AC;&#x2122;ve done, thatand idea theyâ&#x20AC;&#x2122;re asYthe basis forthe yoursame film?7N CY and then did andreaming adaptation of film from awould young World Premiere. Live acoustic set with Gavin Ute Lemper Thursday 24 â&#x2013;  The Whelanâ&#x20AC;&#x2122;s Bruiser Brown Gordon Lebanase jazz guitarist ingwas a copy of the text, read inwalking one sitting and â&#x20AC;&#x153;For me, the Sodome of this play represents aLegend state toof Luke had playing Casimir init another Friel playdecided called IFT you see it all in one of the suburban theatres like the Fmakes   //0)**-  #1)" .*.# event the Japanese Film Festival has broadened itsâ&#x2013; the wrote itwell because she couldnâ&#x20AC;&#x2122;t benative arsed walking the city, through around, As a perfect writer and an actress is she the uphim any Y Already established in Melhighlight inherent lack stability within t         It goes back to that almost Farside-like idea of for part.* .! of Henry and asked ifof heâ&#x20AC;&#x2122;d IT actually wrote thetheir script while I was doing a researching F I  ! " 

#$$% N period as when Beckett wrote First Love, we have in our repertoire, 3 or 4 Beckett 7G:C96C eat Georges CMY S E Uchida. It is his first film, shot on a low budg Edwards â&#x2013; Fitzsimons Bar, 21-22 Wellington Choicecuts presents: The R H without delay to put the piece into production. FouĂŠrĂŠ of consciousness which we have completely lost any E Arguably Irelandâ&#x20AC;&#x2122;s greatest living playwright, Brian Kelly Nov 8th Nov 27th Grand Canal Theatre Herman Melvilleâ&#x20AC;&#x2122;s Moby Dick. The same Aristocrats. We took that play to London and then â&#x201A;ŹTBC, 8pm T look popular. T Civic in Tallaght.â&#x20AC;? horizons, now taking in three locations across the the library. R 

!" # !$$ %!" talking to locals and digging through images. juicy roles for herself to bring to life on stage? bourne, Foster employ vocabulary of fabric of urban space, that in-built anxiety. Th A Berean Tand robbing the clowns of their color and distinctive be interested. He was really surprised because heâ&#x20AC;&#x2122;d masters in DIT. At one the stage I was 7:=6C working a call Temple Bar, - -*   *-! or the Sis 2        Bath () .) Avenue, Dublin 4. 2to. - initially 7pm, Free turned before Quay, D2 Beatdown uses no/-(*# famous actors. The brilliance of this

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 A Energetic blend of dancefloor South William St, clever script and unusual structure. It has a g M National College of Art & Design       is an act of interpretation. [GaudĂŠ] writes with amazSodome speaks to us, she is speaking to the descen2  E finding their voice in monologue form I wonder          fact, as a theatre company we have done weâ&#x20AC;&#x2122;ve done have been prose works. Itâ&#x20AC;&#x2122;s an milestone birthday the Gate Theatre are presentin the latter half of November. Festival programmer & for myself,â&#x20AC;? she tells me when I meet her for tea in isnâ&#x20AC;&#x2122;t my first time playing Andrey however, we took city and alsoImelda its significant history. WeNational were lucky think whether can see in rendering it or famous Kennedy Monday 21 June â&#x2013; Brian The O2 spaces even â&#x201A;Ź15, 7.30pm May tribute act. IN stand andâ&#x201A;Ź15 utilize built environs. In preparing the affect, social National College of Art &earlier. Design College of Art &about Design Tickets: /were 10 to be interpreted. Afterplay is aadverse bityourself of amount aas gem, and 100 Thomas Street He hadyou aagreat career a want relatively W(concs) meO involved in arts and looked like they )-((-  2*%  ,-!* 2*( those three pieces, minimal of e, Jody Four â&#x2013;  Space â&#x20AC;&#x2DC;Nâ&#x20AC;&#x2122; fillers Dublin 2 theher Vedaof the which Ibetter donâ&#x20AC;&#x2122;t to say too much about. I E show, schedule whether  

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T Shinji Yamada has compiled a reflective of the The Abbey. â&#x20AC;&#x153;I had an audition and I was too lazy enough to be taken on a fantastically insightful tour somebody else would be off in the ! ing three of his greatest works in succession: Faith Afterplay to Australia early this year with Francesca ! O their residency The Problem with Stability, fragile. Our work suggests that this lack of8pm sta National Concert Hall  !% 2")-2 --  #3(  4! *-)*5 â&#x201A;Ź65.70-96.25, Tribute 10Georges Samuel Beckett prose pieces, pieces that interesting distinction but about I100 think there aStreet     !"# Were you being satirical the entertainment although has been preformed awas few times inDavid Ireland, singer over there, signed towant Byrneâ&#x20AC;&#x2122;s 100 Thomas were better to other jobs.innocent My writing often Thomas Reunion is the story of hop intense and devoROsuited wer Dublin 8thatisStreet Open Monday toitfado Friday from 8am, lunch U Free, 11pm Hip The George, SthBGreat scenery if youJapalike. Itâ&#x20AC;&#x2122;sof kind of developed film you will toas see twice! Kamikaze            0 aEbeen tain this simplicity because thereplaywrights? are certain things touches on a and whole load of issues like ethnic cleansing 5has so attractive todoing emerging Y imagination and forward thinking that has made to go to get new monologue. I Best had this idea for a Annis Dublin 8 L by aand local historian that really helped us to start to role. Thereâ&#x20AC;&#x2122;s always the question about whether Iâ&#x20AC;&#x2122;d their process ideally positioned between should be understood as a key factor in how w N Healer, Afterplay The Yalta Game. known now Iâ&#x20AC;&#x2122;m it with Frances Barber. P!NK â&#x2013; Butch Walker Wednesday 23 June â&#x2013;  â&#x201A;Ź30-39.50, 8pm industry? Soul icon record label and toured around America. He went O involves taking something familiar and putting it in many Friel fans will still not be overly familiar with it. Dublin 84347 $  $   % &   werenâ&#x20AC;&#x2122;tbut actually written for the stage. The in hisand prose writing of01the Dublin 8work between two young men growing up in â&#x20AC;&#x153;the soft, 9pm, free T: 636 nk, and the St, D2 tion beautiful coming-of-age story about teenage      you cantradition say very directly ininform French that and genocide, primarily for me it represents a state aesthetic. When youâ&#x20AC;&#x2122;re doing the work

$%&' â&#x20AC;&#x153;I was talking to Abisimply Spillane about it, whose nese cinema an institution, affording Irish script. The youngest character came from that. Then understand the layers of history that Dublin. beour able to audiences have enough distance from theenvirons. piece to Stoneybatterâ&#x20AC;&#x2122;s PCP and the IFSC-based Fire Station shape the built T: 01 636 4347 served from 12. Supper Monday through for the classic Philadelphia Here I Come and DancI think itâ&#x20AC;&#x2122;s gentle satire. Weâ&#x20AC;&#x2122;re not taking pot-shots to London to pursue a music career but it didnâ&#x20AC;&#x2122;t a slightly different context. I think thatâ&#x20AC;&#x2122;s where the The Gandhis â&#x2013; RDS Whelanâ&#x20AC;&#x2122;s Abomination to the human $%&'       â&#x2013;  Performance and dance. Retro Eamonn Barrett T:01 01 636 4347   

  T:on 636 4347 the      two shows are aknow very good introduction to forces being byfeatured anversa.â&#x20AC;? actor stage. serene, bluish hills of Swabia,â&#x20AC;? and the sinister and Japanese fashion subcultures. Shall We D you canâ&#x20AC;&#x2122;t say inpresented English, and vice of consciousness that we nothing '  ( ) own debut Punk Girls three actors deliveryou donâ&#x20AC;&#x2122;t necessarily stop and ask questions the opportunity to appreciate cinematic I had this idea for the grannyâ&#x20AC;&#x2122;s character. I started Sohow yes, the city has affected the work we dounique it justice.â&#x20AC;? Studios, allowing to experience a aboutâ&#x20AC;?. crossmenial section 9gV^dX]iI]ZVigZ&)i]!&*i]&+i]DXidWZg'%&% L at anybody. I think fact that theyâ&#x20AC;&#x2122;re surrounded out so he came toto Ireland to do idea of having clownsa working jobs where Lunasa he has also translated number of And different iscertainly it63.20, doing thethe same part with iof â&#x2013; Guateque 50s,ing 60s,at 70s Party 4 Dame Lane, D2 vthem â&#x2013;  Tir na not nĂ&#x201C;g Little Secr â&#x2013;  Our Whelanâ&#x20AC;&#x2122;s â&#x201A;Ź58.30, 8pm â&#x201A;Ź15,two 8pm race. Have fans work of Chekhov warmed theconfused play orbathroom dis- the   

 e D2 to be with Hollywood re-m FouĂŠrĂŠ refers to a phobia or disinterest of Irish theatre Born in the West Ireland of Breton parents, FouĂŠrĂŠâ&#x20AC;&#x2122;s S Beckettâ&#x20AC;&#x2122;s prose. The End has been described p ing monologues, and we agreed that itâ&#x20AC;&#x2122;s just a matSaturday from 6pm. output of one of the worldâ&#x20AC;&#x2122;s largest and oldest film thinking about how I was going to bring them        have produced. â&#x20AC;&#x153;I do miss acting though. I have a small part in aany that end both their friendship and their childhood. avisually of theplays city, and the seismic-shifts that recent trends Sobrother. have come across buildings or infr *&+  ,

n butRunner. then you Whelanâ&#x20AC;&#x2122;s look andyou say â&#x20AC;&#x2DC;gosh, weâ&#x20AC;&#x2122;ve by over-the-top characters who are Followed motivatedby by installation withback his The moment he walked they stand-out came from. The clowns Free before 10pm, after Biagiving Bar, 28-30 Lwr St, D2 Electro Indie i Chekhovâ&#x20AC;&#x2122;s into English, them aStephens new lease different actors? s 7dd`^c\lll#YgV^dX]i#^Z"%&--*'+'' Whelanâ&#x20AC;&#x2122;s â&#x201A;ŹTBC, 8pm h â&#x20AC;&#x153;Funhouse Summer CarMincing credited it? 30, 5 after 9pm, become a modern classic in Japan. Departur       in exploring European playwrights and the creative fluency in French affords her the freedom to splash g terAs ofagetting the piece upmakes and getting it out there. If uitand industries. together in a play how came to romantic comedy called Happy is company, you use very little set dressbyDublin Christopher Ricks, an international of boom and bust have Ininthe midst ofwrite allwe structure inAfter Dublin that youHe think could benefi fame money the clowns more sympaawreaked. in I knew that Paulo wasEver perfect forwhich the role. are symbolic of artists aIactor way. When started Located just steps away from 10pm with student ID Domingo Sanchez and friends Free, 10pm r thatâ&#x20AC;&#x2122;s doing this the whole timeâ&#x20AC;&#x2122;. But no, itâ&#x20AC;&#x2122;s of â&#x201A;Ź8/â&#x201A;Ź4 life.about Totally spoke to esteemed Niall Itâ&#x20AC;&#x2122;s great because itand keeps one fresh. Theyâ&#x20AC;&#x2122;re both o Zodiac Sessions â&#x2013; the cinating filmin, about Japanese death rites. It ha Wellout Ibeen have only ever done itto in Australia where there â&#x201A;Ź15, 8pm â&#x201A;ŹTBC, 8pm Upstairs. Bellajane. nivalâ&#x20AC;?, ifwork Pat Sharp the neclectic waves currently setting the stage ofand places like Paris in mother. a sea offro-ing, endless literary possibilities, asWith opyou dosay something really simple, with no set changes, ()**'  +++#   ! () # Is it fair to your also experiments with the in January and its nice just walk get your e' this to-ing and Artsdesk caught up with the ()**+  ,,,#   ! () # from a few cracked windows? T thetic. Their natural instinct is to entertain and completely empathized with Henry as he was also shooting the film last year the whole global financial play an mix ing or even effects. Was this a decision that scholar, as the perfect introduction to Becku r with Vicar St and The Tivoli Theatre, eof Buggy about his in Afterplay, and his history wonderful actors and both of them are friends, sIrish more widely because of its Oscar w aget statement about â&#x20AC;&#x2DC;nothingnessâ&#x20AC;&#x2122; or anyEVk^a^dcI]ZVigZ,i]!-i].i]DXidWZg'%&% was anot very warm response to it. Friel hasavailable translated Lost Colours â&#x2013;  itâ&#x20AC;&#x2122;s and Germany alight. â&#x20AC;&#x153;There seems to be so little posed tosuss therole majority actors who are confined Bruxelles d Influential duo crucially never Aasome favourite phrase twins turned up, this might beup Christmas Fairy Tells All a just three actors who can literally set shop in The 1950s is often regarded as the golden age of When I finally finished writing it I was too old to ar built form in the aftermath of design, where users script, dressed up and off you go.â&#x20AC;? y pair to out what they had in store for usâ&#x20AC;Ś Well there does appear to be newer â&#x2013;  DJ Alan Healy ettâ&#x20AC;&#x2122;s work. 8.30pm â&#x2013;  Global Zoo consciously provide humour. Thereâ&#x20AC;&#x2122;s real generosity involved in trying to resurrect his career. So we signed him up to securedeve meltdown had just started so ideal it seemed silly not ions forthe pre-theatre dinner e was made or is it designed to Itâ&#x20AC;&#x2122;s very funny but itâ&#x20AC;&#x2122;s got Enquiries Contact 01-6643648 Purty with by Frielâ&#x20AC;&#x2122;s works. very important to get on with your co-stars because are delighted that we managed it fo v crossover and that is something that I would like to be to aNicola more restricting paddling pool of scripts and e number of Chekhovâ&#x20AC;&#x2122;s plays so he knows the material Ivan Ilic â&#x2013;  Whelanâ&#x20AC;&#x2122;s Free, 9pm got off the horse. around the country thing like that. 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â&#x2013; The Beauty Spot Dakota Bar, 8 South William Street, Dublin 2. A new night of Fashion, Beauty, Shopping and Drinks in association with Style Nation and sponsored by Smirnoff. 7pm, Free â&#x2013;  The Odeon Movie Club The Odeon, Old Harcourt St. Station, D2 Classic Movies on the Big Screen at 8pm. Full waiter service and cocktails from â&#x201A;Ź5. June - Dark Comedy. C 8pm, Free

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Tljothe 20th Century centuries and is culturally EVk^a^dcI]ZVigZ,i]!-i].i]DXidWZg'%&% 7dd`^c\lll#eVk^a^dci]ZVigZ#^Z"%&'(&'.'.   ! () # ()**+  +++# ,,,#   ! () # Gallery 29()**' Original Vintage  Posters based on the freshest 7dd`^c\lll#eVk^a^dci]ZVigZ#^Z"%&'(&'.'. Enquiries Contactin01-6643648 29 Molesworth Street, Dublin 2, Ireland ingredients season. 8^k^XI]ZVigZ'+i]"(%i]DXidWZg'%&% t: +353 1 6425784 :: f: +353 1 6624964 7dd`^c\lll#X^k^Xi]ZVigZ#^Z"%&)+',),, 8^k^XI]ZVigZ'+i]"(%i]DXidWZg'%&% e: :: w: Our food is rich and varied. We  use

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Clubbing once-offs October Friday Nov 5th ■ Chris Liebing Tripod, Old Harcourt Station, Harcourt St, D2 Techno stalwart Liebing brings his hardnosed beats to the Tripod main room. 11pm, €17.50 ■ Shy FX, General Levy The Twisted Pepper, 54 Middle Abbey Street, D2 DnB peddler Shy FX returns to the basement, while dancehall kingpin General Levy belts it out in the stage room. 11pm, €12 ■ Afrobass South William, South William St., D2 Free, 9pm Afrobeat, jungle, dancehall, dubstep and funky

■ Elegant Extradition Bingo

with Shirley Temple Bar The George, George’s St., D2 Free, 11pm ■ DJ Jus Ed The Underground @ Kennedy’s, 31-32 Westland Row, D2 The long unheralded New Yorker is at the helm of the excellent Underground Quality label, and will bring his raw, deep, house sounds to Kennedy’s. 11pm, €10

Thurs Nov 11th ■ Sascha Dive Pygmalion Frankfurt’s house aficionado drops into Pygmalion for a midweek buzz. 11pm, €10 ■ Davina Devine hosts Poco

■ Sexual Chocolate South William, South William St., D2 Free, 11pm Discrete and James M in the SW basement

Sat Nov 6th ■ Monika Kruse The Twisted Pepper, 54 Middle Abbey Street, D2 Colour TV brings the Berghain regular and Bavaria native to the Twisted Pepper basement. 11pm, €10

Loco The George, George’s St., D2 Free, 9pm Latin Themed Show & Shakira Giveaway

Fri Nov 12th ■ Terrence Parker Grand Social, Liffey Street, D1 Detroit’s main exporter of Gospel house brings his scratch happy style to new venue The Grand Social. 11pm, €10/12 ■ Pussywagon

with Anto’s X Factor ■ Fever South William, South William St., D2 Free, 9pm With Billy Scurry and guest DJs

Sun Nov 7th

The George, George’s St., D2 €5, 11pm ■ Family South William, South William St., D2 Free, 8.30pm

Salacious and friends

Sat Nov 13th ■ DMX Krew The Twisted Pepper, 54 Middle Abbey Street, D2 Electro legend Ed Upton makes a return appearance for Discotekken. Rapper DMX will not be present at any stage. 11pm, €10 ■ Pow Wow South William, South William St., D2 Free, 9pm DJs Mark Kelly and Brian Cuddy ■ Go4It! South William, South William St., D2 Free, 11pm 4-deck beat jam with DJs Matjazz and Jazzbin

Fri Nov 19th ■ Technasia and Joris Voorn Tripod, Old Harcourt Station, Harcourt St, D2 A strong double bill; with France’s Technasia squaring off against prolific Dutchman Joris Voorn. Should be whopper. 11pm, €18 ■ Juice Box South William, South William St., D2 Free, 8.30pm Chewy and friends ■ Drum Beats South William, South William St., D2 Free, 11pm DJ Keith O’Reilly and Bongo Jason

Sat Nov 20th ■ Sandwell District The Twisted Pepper, 54 Middle Abbey Street, D2 Mysterious techno deity Regis and Function return after that pesky Icelandic volcano spoiled the fun last time around. 11pm, €10 ■ Best Foot Forward South William, South William St., D2 Free, 11pm Choice Cuts DJ Rizm and Colm K play hip-hop, afrobeat, funk, disco, and house ■ DJ Madlime and Guests South William, South William St., D2 Free, 11pm

Sun Nov 21st ■ Duets Bingo with Shirley Temple Bar The George, George’s St., D2 Free, 11pm With Special Guests former AMI AlterEgo & Baby Vegas

Wed Nov 24th ■ Wig Swap: Trading Blouses The George, George’s St., D2 Free. 11pm Watch as Shirley, Veda, Davina, Dolly & Co trade places with each other and live inside the wardrobe, wig and world of someone else.

Thurs Nov 25th ■ D’Julz Pygmalion, Sth William St, D2 Well-respected French house DJ who’s more than familiar with

the acidic variety. 10pm, €10

South William, South William St., D2 Free, 10pm DJs Mark Kelly and Kelly-Anne

■ Mash Presents The

Nextmen ■ Jimpster The Twisted Pepper, 54 Middle Abbey Street, D2 Freerange boss and uber consistent producer comes to the capital on Subject’s behest. 11pm, €10

South William, South William St., D2 €5, 9pm In support of Movember.

Fri Nov 26th ■ Dave Clarke Tripod, Old Harcourt Station, Harcourt St, D2 Seems to play every other week, but the crowds still turn out in full force. 11pm, €20

■ Underworld RDS, Merrion Road, Ballsbridge, D4 90’s techno relics bring the crowd pleasers for a nostalgic night in Ballsbridge. 7.30pm, €39.50

■ Zombie Circus South William, South William St., D2 Free, 8.30pm Live electronic acts, guest DJs and Plug Artists residents

Friday Dec 3rd ■ Butch Crawdaddy, Old Harcourt Station, Harcourt St, D2 Tech house DJ. Ibiza’s flavour of the month 11pm, €15

■ Bizaro 2.0 South William, South William St., D2 Free, 10.30pm DJ Fassman in the basement

■ Planetary Assault System The Twisted Pepper, 54 Middle Abbey Street, D2 Pioneer of UK techno Luke Slater brings his relentless P.A.S moniker to the Twisted Pepper. 11pm, €15

■ Benga The Twisted Pepper, 54 Middle Abbey Street, D2 Has slipped down a worryingly commercial path. Hopefully won’t be playing any of that Magnetic man rubbish. 10.30pm, €12

Sat Dec 4th ■ Move D The Underground @ Kennedy’s, 31-32 Westland Row, D2 Phonic continue their stellar booking policy by welcoming the outstanding Move D to the Kennedy’s basement. 11pm, €10

Sat Nov 27th ■ Mr Whippy South William, South William St., D2 Free, 9pm ■ Discorotique

Visual Art November Adifferentkettleoffishaltogether 18 Ormond Quay Upper, D7 ■ Cor Klaasen: Jackets,

Covers and Sleeves An exhibition of design work by Cor Klaasen (1926-89), consisting of book covers and record sleeves from the sixties and seventies. Klaasen was one of the leading book cover designers working in Ireland in the sixties and seventies and his semi-abstract style retains its freshness and vitality to this day. The exhibition will include numerous book covers for Gill & Macmillan, Fallons, Helicon, Torc and the Talbot Press as well as a series of striking record covers designed for the Mercier Press. Curated by Niall McCormack of Vintage Irish Book Covers. November 3 - 10


Upper Kilmacud Road, Dundrum, D14 ■ Nicole Tilley Nicole Tilley is a graduate of the National College of Art and Design where she is currently pursuing a Masters Degree in Fine Art. Her practice begins with drawing in small notebooks- a visual repository of ideas which are expanded using a diverse range of media including etching and paper cutting. Her influences include



classical childhood literature and illustration and magic realism. ‘…I am particularly fascinated by the little big things that we sweep under the carpet, in our secret inner worlds and in-between states of being’. Tilley has exhibited her work widely in Dublin as well as abroad and her work can be found in several private and public collections. She was awarded a Graphic Studio Graduate Award in 2009. October 8 - November 7

Alliance Francaise 1 Kildare Street, D2

■ Martin Healy Martin Healy’s practice explores the connection between belief, perception and recorded imagery or sound, through the framework of popular cultural mythologies and phenomena. For the show in the Alliance Francaise Healy will present a series of works that refer to the role photography plays in the classification of the natural world. September 30 - November 27

Bad Art Gallery 79 Francis Street, D8

■ The Bad Art Gallery

Christmas Show Everything on an 8x10 inch canvas and all paintings under €500 December 1 - January 14

The Observatory

7-11 Sir John Rogerson’s Quay, D2 ■ Eugene Magowan A collection of works entitled ‘Something very important from some time ago’. October 21 - November 6 Cait O’Connor - ‘Girls I Know’ “I am looking at women hiding in plain sight. This is a series of portraits in which the subject is avoiding the viewer. These are very large paintings; they are aggressive advertisements- though the object is elusive. The medium and the subject are in disagreement.” Nov 11 - 26

Centre For Creative Practices 15 Pembroke Street Lower, D2 ■ Brainbelt Illustration

Collective Brainbelt Illustration Collective is a diverse network of 14 creative professional artists and designers who bear a heartfelt passion for illustration. The group’s visual disciplines vary from sculpture, print design, motion design, multimedia and photography. The group launched in Nov 2009, having its inaugural show in the Back Loft Gallery with great success. Each artist joyfully steps outside their normal working practice to create

novel pieces of an Illustrative nature. The exhibition promises to be a unique visual feast. November 1 - 7

Chester Beatty Dublin Castle, D2

■ Heroes and Kings of the

Shahnama The Shahnama (Book of Kings) is one of the great classics of world literature. Frequently referred to as the Iranian national epic, it relates the glorious tales of the heroes and kings of Iran, from the dawn of time until the Islamic conquest in the mid-seventh century. This epic poem of some 60,000 verses was completed in the year 1010 by the poet Firdawsi and to mark the 1000th anniversary of this great event, the Chester Beatty Library is presenting a major exhibition of some 150 paintings, all drawn from it own important Shahnama collection. November 19 - March 20

Cross Gallery 59 Francis Street, D8

■ Clea van der Grijn A selection of new works November 4 - 27

DIT Bolton Street Bolton Street, D2

■ DIT Designing with

and collaboration, and with that aim it juxtaposes a selection of older work from the Modern Art Collection of Trinity College with recent pieces by emerging Irish artists. The interrelationship between the two is the heart of the matter, but there is also an underlying emphasis on landscape, nature, and the elements. September 24 - November 3

Communities Exhibition Showcase of work produced by DIT design and architecture students in collaboration with local communities, as part of DIT’s Programme for Students Learning with Communities. This exhibition will take place in the Bolton Street campus November 1 – 6 ■ Images from Morocco Work made by visual-communication students from DIT’s School of Art, Design and Printing on location in Morocco. This exhibition will take place in the Mountjoy Square campus. November 1 - 7

Douglas Hyde Gallery Trinity College, D2

■ Holding Together This exhibition celebrates 50 years of the Trinity College Modern Art Collection and the achievements of George Dawson, its founder, who was also instrumental in the establishment of The Douglas Hyde Gallery. It was selected by the staff of the Gallery and the Curator of the College Art Collections. The title of the show, derived from Hexagram 8 of the I-Ching, the Chinese Book of Changes, is intended to highlight the importance of unity, complementarity,

■ Jockum Nordstrom: While

the Mortar Dries November 12 - January 12


Blanchardstown Centre, D15 ■ Playboys, Paycocks and

Playbills An exhibition of Abbey Theatre poster designs from the 70s and 80s, featuring the acclaimed artwork of Kevin Scally and Brendan Foreman. The exhibition represents a changing time in graphic design and the representation of the Abbey Theatre and also showcases different styles of printing and a broad range of productions, actors, directors, costume and set designers. September 3 - November 6 ■ In Colour Fingal County Council’s Arts Office in partnership with Draíocht are delighted to present a unique exhibition themed for Leaving Certificate art students





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and teachers. For this exhibition a selection of 20th Century works by Irish artists have been acquired from The Arts Council and AIB collections. This show will be accompanied by an extensive education programme which will include The National Gallery’s Leaving Certificate Revision Day, mediated tours, resource packs and talks by featured artists Martin Gale, Robert Ballagh and Alice Maher. The exhibition will also feature work by Mainie Jellet, Mary Swanzy, Patrick Collins, Tony O’Malley, Charles Brady, Barrie Cooke and more. September 9 - November 6 ■ Amharc Fhine Gall VII Annual exhibition is showcasing the work of Fingal artists, particularly recent graduates. November 12 - January 22 ■ Home Graphic Studio Dublin rounds off its 50th Anniversary with a Members’ Exhibition on the theme of ‘Home’. The title refers to our notions of belonging and family and is particularly relevant at this time of year, a time when we return to the places and people that create our own sense of home. All the feature prints showcase the finest skills in fine art printmaking techniques, including etching, lithography, woodblock print, linocut and a variety of mixed media techniques. All works are priced under €250. November 12 - January 22

Gallery of Photography

Meeting House Square, Temple Bar, D2 ■ The Collector’s Eye This fascinating exhibition offers an intriguing glimpse into Sean Sexton’s photography collection – one of the finest and most extensive held in private hands today. It provides a rare opportunity to view some of the earliest photographic records ever made in Ireland as well as extremely rare early daguerreotypes and ambrotypes. In addition, it includes an eclectic range of work, from fanciful 1910’s early flight through to dramatic images taken by soldiers in WW2. With over 100 original vintage images on display, the exhibition charts one man’s passionate journey through photographic history. October 14 - November 21

Gallery Number One 1 Castle Street, D2 ■ FUSE@GN1 FUSE, the interior design and furniture company, is hooking up with Dublin landmark art gallery Gallery Number One. The collaboration will see the transformation of the gallery into a temporary furniture exhibition and shop. The relocation of the FUSE Finds’ vintage and recycled furniture collection will open for four weeks on Sat 30 Oct. The partnership between the two companies recognizes the intrinsic relationship between art and design. October 30 - November 27

Gormley’s Fine Art 24 South Frederick Street, D2

■ The Spirit of the West by

Eileen Meagher Paintings of rural Ireland. November 18 - December 2

Green on Red Gallery Lombard Street, D2

■ The Driver and the

Passenger By Dennis McNulty



Dennis McNulty’s second solo exhibition in the gallery. The exhibition will include all new works in a variety of media that draw on sources from other architectures and other epochs, while responding to the gallery space. There is a fragmentation in the treatment of his subject that is both stylistic and philosophical. A series of locations are at the heart ofThe Driver and the Passenger. An iconic modernist house in New Canaan, Connecticut; a slowly decaying inner city furniture shop; an unincorporated town on the Pennsylvania turnpike; a social housing complex in London; a huge unblockable hole under the sea and the drowned foundations of an abandoned construction project in Dublin city centre October 6 - November 6 ■ Two-fold By Bea McMahon November 11 - December 11


Hillsboro Fine Art Gallery

The Joinery

■ David Krone New paintings October 21 - November 20

■ Through the Looking

1 Parnell Square East, D1

Hugh Lane Gallery

Charlemont House, Parnell Square North, D1 ■ Gavin Murphy Part of the ‘Golden Bough’ series of commissions. November 4 - January 16 Richard Tuttle Richard Tuttle ‘Triumphs’ at Dublin City Gallery The Hugh Lane is a site specific exhibition and collaboration with the artist. Responding to the local as encountered in the early Georgian architecture of the main gallery Charelmont House (designed by Sir William Chambers in 1765) and to the Hugh Lane collection (established in 1908), Richard Tuttle will install a Polysemous multipart horizontal installation in the galley’s new wing (2006). In works such as the shaped plywood wall reliefs of the 1990’s to recent handmade printed paper assemblages, Richard Tuttle will configure his artworks in new forms that have emblematic meaning to his interest the Augustan era and its polysemous aesthetics. November 19 - April 10


Royal Hospital, Military Road, Kilmainham, D8 ■ Graphic Studio: 50 Years

in Dublin

Graphic Studio marks the gift of more than 30 fine art prints to the collection of the Irish Museum of Modern Art on the occasion of Graphic Studio Dublin’s 50th anniversary, which IMMA is delighted to receive to add to its holding of modern and contemporary prints as part of the National Collections of Ireland. September 8 – January 3 ■ Post-War American Art:

The Novak/O’Doherty Collection This exhibition marks the generous gift of works by art historian Barbara Novak and artist Brian O’Doherty / Patrick Ireland to the IMMA Collection. September 8 – January 30 ■ The Moderns In celebration of the 20th anniversary of IMMA’s foundation in 2011 the Museum is presenting The Moderns, a major exhibition from its Collection which occupies almost the entire Museum. October 20 - April 3


Lincoln Place, D2 ■ Cuban Revolution The Instituto Cervantes, in conjunction with the Cuban Embassy in Ireland, is delighted to present an extraordinary exhibition, Cuba Mía, by the acclaimed documentary photographer Rodrigo Moya. The exhibition, comprising eighty black and white photographs, taken in 1964, provides an unique insight into the hopes and dreams of the Cuban people in the early years of the revolution. The photographs, for the most part, focus on the people of Cuba in all their resilience and exuberance; many are displayed in large-scale format, almost a metre square. Included in the exhibition are a number of images of the revolutionary hero, Che Guevara, which have never before been seen in public. September 23 - November 13

6 Rosemount Terrace, Arbour Hill, Stonebatter, D7

Glass - Roisin Verdon Róisín Verdon draws from the heightened sense of colour and composition in film and television in her work. There is a development and transition from focus on motion to focus on composition. The work has emerged from references to the laws of reflection and in particular specular reflection. Specular reflection is where the angle at which the wave is incident on the surface equals the angle at which it is reflected – as in the case of mirrors. Yet the surface is only partially representational. In film, the actor plays a character yet the person behind that character is also present, like the Ego – the false self which we present to the world as a statement of who we are, versus the true self. In the case of The Wizard of Oz – the wizard was represented as a larger than life entity when in reality he was a little man behind a curtain November 17 – 22 ■ ‘Sense of Space’ - Vanya

Lambrecht-Ward Vanya Lambrecht-Ward’s work grapples with the idea of dwelling and our relationship with space. Between the ocular and the tactile experience, between the flat and the spatial, the work attempts to return this space from the visual to the physical. Photography – a way of collecting and even hoarding space (in combination with pencil and paint), deconstructs and destructs these environments to create re-assembled spaces November 25 - 30

Jorgensen Fine Art 16 Herbert Street, D2

■ Rose Stapleton Following on from her first highly successful exhibition at Jorgensen Fine Art, Rose Stapleton promises an exhibition full of new and exciting developments but also including the still lives and interiors for which she is so loved. November 3 - 27

Kerlin Gallery

Anne’s Lane, South Anne Street, D2 ■ Phil Collins Ich esse kein Bananen mehr und trinke natürlich keine Coca-Cola October 22 - November 20

Kevin Kavanagh Gallery

3a Chancery Lane, D8 ■ Robert Armstrong, Tadhg

McSweeney & Mark Swords Group show

November 4 - 27 Geraldine O’Neill December 2 - 23

Mad Art Gallery 56 Lower Gardiner Street, D1

■ The Spacebar A group exhibition of illustration, digital painting, video, 3D, fine-art programming and anything else behind the words ‘computer art’. This vibrant and exciting show features projects of artists and designers based in Ireland. November 4 - 13

The Malthouse

Distillery Court, 537 North Circular Road, D1 ■ Locker13 - New Works Following on from the success of ‘Public Furnication’ at Design Week 2009, LOCKER13 will launch a range of brand-new designs at this year’s show. Exhibiting at our studio in the Malthouse, guests will benefit from other Design Week events at the same location. November 1 - 7

Mother’s Tankstation 41-43 Watling Street, Usher’s Island, D8 ■ Laura Buckley November 3 - December 11

Moxie Studios Lad Lane, D2

■ Design Tree Irish Design Shop hosts an extensive exhibition of craft and furniture featuring the work of both up-and-coming and established designers. On Sun 7 Nov, we will be screening all 37 episodes of the classic RTÉ series ‘Hands’. There will be ongoing events throughout the week (to be confirmed) in relation to the show at the gallery space, which has been kindly donated by Moxie Studios and Irish Museum of Contemporary Art (IMOCA). November 3 - 7

National Gallery Ireland Merrion Square West, D2 ■ Gabriel Metsu:

Rediscovered Master of the Dutch Golden Age One of the most remarkable painters of the Dutch seventeenth century, Gabriel Metsu (1629-1667), will be the subject of the National Gallery’s autumn exhibition. Metsu died at the age of thirty-seven, having painted a large number of exquisite scenes of daily life that rank among the finest of the Dutch Golden Age. The Gallery is fortunate to have in its collection two outstanding companion pieces, which are arguably the artist’s most wellknown works. September 4 – December 5

NCAD Gallery

Thomas Street, D8 ■ A Space For Learning An innovative exhibition from the Irish Architecture Foundation, showcasing a unique collaborative project between architects/ architectural graduates and transition-year students. Ten architect-student teams created films, installations, models and drawings to illustrate their ideas about learning environments. This exhibition opens up a new discussion on school-building design, highlighting issues such as sustainability, light, shape and colour in educational spaces. November 5 - January 29

Oliver Sears Gallery 29 Molesworth Street, D2

■ Six Impossible Things

archivally mounted on Aluminum composite. October 13 - November 13

Before Breakfast

Bronzes and metal objects by Patrick O’Reilly October 21 - November 20

Science Gallery

Pallas Contemporary Projects

111a Grangegorman Road Lower, Dublin 7 ■ Jim Ricks Jim Ricks has developed the method of synchro-materialism as a means to consider the territory where art meets capitalism. To do this properly, history must be re-worked, splintered and re-imagined. Ricks will use the quotidian fragments of capitalism and empire in the last century to weave a new ‘conspiratorial’ narrative that undercuts and supersedes the prevailing mainstream ones. Subjective slices of everyday life and history are collected and, depending on scarcity, re-created. They will be displayed according to an intuitive synchronicity based on politics, aesthetics, history, and philosophy. October 15 - November 13th

Powerscourt Gallery

Powerscourt Centre, D2 ■ Dubliners...and other faces Frank Kiely’s Dublin work is inspired by the early writings of James Joyce, and the questions Joyce poses of life in the capital city. These are questions Kiely wrestles within himself; love, adventure, ageing, betrayal and death. For Kiely ambiguity is the only answer. He sees these themes reoccurring in his Irish life: in his family and friends. His work is not exclusively Dublin-centric but includes works from other places and stories of other faces; Galway, London, Irish fiction and folklore. October 21 - November 12

Project Arts Centre

39 East Essex Street, Temple Bar, D2 ■ Exhibitions An exhibition about exhibitions, and the artists who make them. Group show by Martin Beck, Nina Beier, Luca Frei, Sriwhana Spong, Pernille Kapper Williams. September 16 - November 13

Trinity College, Pearse Street, D2

■ Green Machines An exhibition about sustainable designs from around the world, putting the visitor in the role of an investor, choosing the design that they feel has the strongest merit and tracking the designs on the Science Gallery stock exchange. Green Machines also aims to inspire and spot the next ecoentrepreneur and breakthrough sustainable designer. October 15 - December 17

Sol Art Gallery 8 Dawson Street, D2

■ Breaking the Silence Breaking the silence is a celebration of Sol Art’s first all-female show. There will be work on display by Katerzyna Gajewska, Carmel Doherty, Oksana Popova, Carmel Madigan and Rikki van den Berg. Work will also be on display by American artist Rimi Yang whose work recently hung in the presenters lounge at this year’s Golden Globe Awards. October 21 - November 6

Stone Gallery

Pearse Street, D2 ■ Deirdre Hayden The landscape and its distinctive light are forms that dominate Deirdre Hayden’s work - with abstracted images of ice, trees, clouds and occasionally more literal renditions. Narratives are often situated on the edge of society, fringes of the urban fabric, a sense of mystery suggested by fairground lights or illumination from the headlights of an unseen car highlighting deserted stages where the viewer is often marginalised, looking out from within a scene. November 4 - 13 Winter Exhibition Stone Gallery and invited artists November 25 - 2011

Temple Bar Gallery & Studios Temple Bar, D2


15 Ely Place, D2 ■ Clare Langan, ‘The Wil-

dernness, Part I’

The Wilderness. Part 1, surveys a landscape of abandon, darkened by uncertain catastrophe. A requiem for a vanishing planet, The Wilderness, Part 1 is an examination of an extinct world that strangely resembles our own. Shot in infrared HD video and with the use of hand-made filters, the images of the Irish landscape echo graphite drawings. Movement in the film is subtle and minimal with the drama set by Jurgen Simpson’s music composition. Sepember 3 – December 19 Janet Mullarney; Artur Zmijewski; RHA Members’ Drawing; George Dawson Please note each of these exhibitions is separate. November 19 - December 19

Rubicon Gallery

■ Alan Butler Butler is an artist who makes works by ‘remixing’ or amalgamating a multitude of different materials, most of which have been sourced online through websites such as Ebay, Twitter, Wikileaks, Youtube and Wikipedia. The exhibition features a selection of new works including video remixing of appropriated third party materials, drawing, sculptural and installation works. The work engages with the crossover between political, philosophical and social ideologies and their global mediation, distribution and transmission. The title, itself an appropriated sentence (attributed to U.S. State Department spokesman Robert McCloskey at one of his regular noon briefings during the worst days of the Vietnam War), perhaps best describes the artist’s use of visual and conceptual language, manipulating it through networks of signs and cultural artefacts. October 22 - November 27

The Complex

10 St. Stephen’s Green, D2 ■ Nick Miller - Tree House

360 Working from a Tree house at the Josef and Anni Albers Foundation in New England USA, this work made over eight weeks in the fall of 2009. It is a 360 degree portrait of the woods from the tree house. The main work is 27 panels Casein paint on Arches 300lb paper

Smithfield ■ Made On Monday Over thirty Dublin based contemporary artists showcase their work. Preview Fri 12th November 6-10pm Sat 1-6pm, Sun 2-6pm, Mon-Wed 3-7pm

Theatre October ■ Reunion The New Theatre By Fred Uhlman Hans Schwartz is Jewish, the son of a Stuttgart doctor who asserts that the rise of the Nazis is “a temporary illness, something like measles which will pass off as soon as the economic situation improves.” The Holocaust would be unthinkable for these characters, but of course it looms over the story: Hans’s friend, the young Count Konradin von Hohenfels, has a mother who keeps a portrait of Hitler on her dresser. 8pm, €15/10 World Premiere. Nov 8th - Nov 27th ■ Christmas Fairy Tells All The New Theatre By Nicola Lindsay A light-hearted frolic, instigated by Crystal, the Christmas Fairy, as she forces a young, accidentprone taxi driver into taking three, not very wise women to visit Maria, Joe and Baby Noel with disastrous results. Uh oh. 3pm/8pm, €15/12 Nov 29th - Dec 4th ■ Freefall The Abbey Theatre By Michael West A sudden shock, and a man’s life flashes before his eyes. In an intense rush of extraordinary images and tangled memories, he attempts to reconnect the events that have shaped him. The Corn Exchange make their Abbey main stage debut with this humorous and compassionate study of an ordinary life. 2pm/7.30pm, €13-€18 24th November – 4th December ■ Aladdin The Gaiety Theatre By Daryn Crosbie The rip-roaring adventure story

of Aladdin will be brought magically to life in a spectacular production starring Boyzone’s, Mikey Graham, in the role of Abanazar and the voice of XFactor’s Louis Walsh as Master of the World. Together with our amazing visual effects, a genie with attitude, a magic flying carpet and a mesmerising cave of jewels, it is set to make Aladdin an unmissable pantomime experience. 11am, 1:30pm, 6:30pm, 7:30pm, 8:30pm, €15-€ 35 November 11th - January 30th ■ Jane Eyre The Gate Theatre Adapted By Alan Stanford Jane Eyre (Andrea Corr) tells the story of a young woman who survives a wretched childhood, unbroken in spirit and integrity, to eventually fall in love with the troubled Mr. Rochester (Stephen Brennan). A tale of defiance and desire, it remains as firm a favourite today as when it first appeared over 150 years ago. 2:30pm, 7:30pm, €15 - €35 November 4th - January 5th ■ Happy Days Project Arts Centre By Samuel Beckett Blazing light. A woman buried to the waist in a mound of scorched earth. Waking to a piercing bell, Winnie faces another day with boundless optimism and endless chatter, bolstered by a few possessions in a handbag. She throws back her head and declares, “Another heavenly day.” An hilarious, luminous and sublime portrayal of human resilience in the face of desolation. There will be a post-show discussion following the performances on 11th & 17th November. 7:30pm, €22/18

November 4th - November 20th ■ Big Ole Piece of Cake Project Arts Centre By Sean McLoughlin ‘All my life I’ve wanted a son. And now here I am with two of them! I’ll drink to that!’ Dublin lads Colin and Ray are out of work, out of grub and nearly out of fags. On a whim lonely ex-teacher Clarence brings the two brothers back to his cottage in Wicklow. Over the course of one electric evening, the unlikely trio bond over naggins and history lessons, but will Colin’s destructive streak ruin their one chance at happy families? 8:15pm, €18/15 November 8th - November 20th ■ Ross O Carroll Kelly:

Between Foxrock and a Hardplace Olympia Theatre Ross O’Carroll Kelly was once every boyfriend’s nightmare and every girl’s wettest dream come true. Now in the midst of a divorce and having piled on the pounds, the closest Rosser can get to a Leinster pitch is taking part in a half-time penalty kick competition (for thirteen-yearolds). With his old pair splitting up and selling the family home in Foxrock, the house’s once €17 million value has been butchered not only by the good old R word but by local council re-zoning plans. Fresh out of prison, Charles devises a plan involving a lobbyist and a suitcase full of dosh. Nov 1st – 14th 2010, 3pm, 8pm €25 – €49.50 ■ Hairspray By Marc Shaimann and Scott Wittman Grand Canal Theatre

Hugely popular West End musical comedy makes a visit to Dublin’s newest theatre venue. Telling the story of “pleasantly plump” teen dreamer Tracy Turnblad, this feel-good romp is based on John Waters’ 1988 film of the same name and stars Michael Ball as Wilbur Turnblad. Nov 16th – 27th 2010, 7.30pm. Matinees every Wed, Fri and Sat at 2.30pm €25-€60 ■ Jack The Ripper By Mark Nagle Mill Theatre Set in 1880s amidst the panic and furore of London’s infamous ‘Ripper’ killings, this play by Mark Nagle returns to Dublin stage after sell-out performances in Ranelagh during the Spring. 3rd – 6th November 2010, 8pm €16/ €12 (concession) ■ Round and Round The

Garden By Alan Ayckbourn Mill Theatre The Sandyford Little Theatre and director Moira Walsh return by popular demand with this work that had a successful sell out run in April. Part of his Norman Conquest Trilogy from the early 1970s, Round and Round the Garden is a small-scale dark comedy about relationships in middle-class suburbanite couples. 9th – 13th November 2010, 8pm €18/ €15 concession ■ Translations By Brian Friel Mill Theatre Produced by the Rathfarnham Theatre Group, Translations is set in Friel’s beloved Donegal in the years just before (and with a dark warning of) the Great

Hunger of the 1840’s. Perhaps its most moving scene is one in which a young English Officer and a lively local girl fall in love, although neither can speak the other’s language. They are but two of the colourful characters in the harsh and ominous conflict between two cultures - the ruthless English colonisers (militarily and culturally) on the one hand and on the other the age old world of the town land’s social and cultural centre, the Hedge School with it’s love of its native language and the Greek and Latin Classics. This page of history is brought to life with all the magic of Friel’s drama, humour and tenderness. 23rd – 27th November, 8pm €18/15 (concession) All tickets €10 on Tues Nov 23rd ■ Showstoppers Stage School

Silence Of The Prams Mill Theatre As the evil genius Dr. Bold Babe attempts to turn the entire child population evil, ten year old agent Clarissa Sparrow and a team of weird and wacky superheroes try to save them. Expect lots of fun, hilarious jokes, dancing, singing and a whole lot more! A great family show. 28th – 30th November 2010, 8pm €12/€10 concession ■ The Adventures of the Wet

Señor By Donal O’Kelly Pavillion Theatre Benbo Productions Present’s The Adventures of the Wet Senor Live Music Theatre based on the experiences of Spanish Armada survivor Francisco de Cuellar in the North West of Ireland. Combining the live musical passion of Kíla, the powerful storytelling skills of Donal O’Kelly (Catalpa, The Cambria) and high-octane per-

formances from Carrie Crowley, Jaimie Carswell and Sorcha Fox, this show breaks exciting new ground in music-theatre. 20th November 2010, 8pm €15.20/€16.80/€19/€21 ■ Language UnBecoming A

Lady By Myles Breen Pavillion Theatre Fresh from its success at the Dublin International Gay Theatre Festival (nominated Best New Writing) and initial Irish tour, Language UnBecoming A Lady now comes to the Pavilion. In a dressing room an ageing drag queen reveals his life and loves, victories and defeats. A funny and touching portrait of gay life in Ireland over the last 40 years. This show contains some adult content and some strong language. 24th November 2010, 8pm €12/€13.60/€15/€17 ■ Little Gem By Elaine Murphy Pavillion Theatre Kay’s got an itch that Gem can’t scratch (but maybe Kermit can)… Lorraine attacks a customer at work and her boss wants her to see a psychiatrist … Amber has fierce bad indigestion and the sambucas aren’t getting rid of it. Then there’s Paul, who’s just using Amber until he can get to Australia … and there’s the hairy man who fancies Lorraine but fails to rise to the occasion… and of course Gem , who doesn’t like the neighbours coming in to ‘mind’ him. And if all that wasn’t bad enough, Little Gem makes his presence felt and is never the same again. 29th November – 1st December 2010, 8pm €15.20/€16.80/€19/€21

Festivals October ■ IN THIS MOMENT 26th November Project Arts Centre 8pm €10.00-15.00 Video artist/director Charles Atlas and choreographer John Scott have created a performance dance which unites dance with film and technology to great effect. Featuring seven exceptional performers, Atlas and Scott have put together a musical soundscape set to five different languages, with the use of giant projections to be filmed live. ■ Top Gear Festival 2010 26th-28th November CityWest Hotel, Conference Centre and Golf Resort €59.00 The first ever Top Gear Festival. Following on from the huge success of the last two years of Top Gear Live in Dublin, a three-day motoring extravaganza has been arranged. The programme will feature super car sprints, classic car rallies, manufacturer



collections, superbikes live, and drifting. Tickets include entry to the Top Gear Live show, access to the Top Gear Festival Track, and access to the Prestige and Performance Motor Arena. ■ American Thanksgiving

Dinner 25th November Beaufield Mews 6.30pm – late €30 + 12.5% service charge Calling all Americans away from home. A traditional four course Thanksgiving dinner, with complementary Egg Nog on arrival. Bookings: 01-2880375 ■ Discover Irish Film 25th November Bewley’s Café Theatre 3-4.30pm (Session 1) 5-6.30pm (Session 2) Free For more information: www. ■ The Book and the Lake:

Preface to a Collaborative Memoir

23rd November National Library of Ireland 7pm TBC The second in a series of talks on memoir. Writer and academic Denis Flannery will be discussing the process through which he and his father wrote a collaborative memoir. Along with a collaborative memoir composed with his father, Flannery’s current projects include work on Henry James and Ireland, on the Dutch Theatre Company Toneelgroep Amsterdam and, via Facebook, a collection of near-daily dispatches about the sky.

participants can explore the printing process and learn how to make prints of their own.

One Day Printing Workshop

■ Dublin Toy & Train Fair 14th November Clontarf Castle Hotel 10am-4pm €5 Adults, €3 Children In their 11th year running, the Dublin Toy and Train Fair runs a day-long celebration of collectible toys of all kinds, including Diecast models by Corgi and Dinky, construction sets by Meccano and Bayko, lead soldiers by Britains and Cresent, and trains by Hornby, Triang, Trix, Wrenn, and Marklin. Also available to browse and buy will be antique dolls, teddy bears, and film annuals from the 1940s-1960s.

21st November Draiocht 12-4pm €30.00 Running in conjunction with Graphic Studio Dublin’s 50th Anniversary Members’ Exhibition on the theme of ‘Home’. A one day printing workshop for adults, in which

■ Innovation Dublin Festival 10th-21st November TBC For 11 days venues throughout Dublin will be opening their doors to showcase and promote innovation in the city. Conceived by the Creative Dublin Alliance, and

■ Exploring the Exhibition –

will be performed alongside the classic romantic, rustic, and mythological poetry.

coordinated by Dublin City Council, this years Innovation Fest sees a vast number of workshops, exhibitions, tours, performances, and conferences taking place all over Dublin. For more information and the festival map, see www. ■ An Appointment With Mr

Yeats 7th November Grand Canal Theatre €44.50 A fusion of the poetic power of W.B. Yeats with the music of The Waterboys. Singer Mike Scott, who set The Stolen Child to music, has been working on an abundant collection of songs using Yeats’ poems as lyrics. Apart from some being performed solo by Scott during the Yeats International Festival at the Abbey Theatre in the 1990s, this is the first time all the songs will be performed. Yeats’ lesserknown works, such as Mad As The Mist And Snow, News For The Delphic Oracle, and The Song Of Wandering Aengus,

■ Swap Till You Drop 7th November Dublin City Centre 3pm €15.00 In aid of the Irish Motor Neurone Disease Association. Bring a selection of clothes, shoes, and accessories that haven’t been getting the attention they deserve. ■ Festival of Lights 6th November RDS 10am-8pm TBC Diwali, the Festival of Lights, is a five-day festival celebrated by Hindus, Sikhs, and Jainists. Traditionally, it involves the lighting of small clay lamps filled with oil to signify the triumph of good over evil. Supported by Dublin City Council and Department of Integration, “Ireland Celebrates Diwali 2010” is making its debut.

Comedy weekly October The Wool Shed Baa & Grill Parnell Street, D1 ■ Mondays The Comedy Shed Comedy night with MC Damo Clarke 9.00pm, €5.00

Ha’penny Bridge Inn

Wellington Quay, Temple Bar, D2 ■ Tuesdays & Thursdays Battle of the Axe at Capital Comedy Club Dublin’s long standing open mic night 9.00pm, €9.00 ■ Wednesdays & Sundays Capital Comedy Club The club’s flagship night 9.30pm, €7/€5


Thomas Read’s

■ Tuesdays The Comedy Dublin troupe perform with a night of improv and stand-up

■ Thursdays The Underground Comedy Club Dublins anything goes alternative comedy ginch, full bar all night and DJ 9.00pm, €5.00/€8.00

Catham St., D2

Hedigans, The Brian Boru Prospect Road, Glasnevin, D9

■ Tuesdays Hedigan’s comedy features some of the best improv and comedy talent Dublin has to offer.


Camden St., D2 ■ Wednesdays ‘Laugh out loud’ comedy night with Aidan Killian 8.30pm, €5.00/€7.00

Parliament St., D2


Lower Rathmines Road ■ Farlmeister’s comedy box 9pm, €5/€2

The International Bar Wicklow St., D2

■ Mondays Comedy Improv night 8.30pm, €8/€10 ■ Tuesdays Andrew Stanley’s Comedy Mish Mash

8.30pm, €8/€10 ■ Wednesdays The Comedy Cellar with Andrew Stanley Ireland’s longest running comedy night 9.30pm, €8/€10 ■ Thursdays & Fridays Resident MC Aidan Bishop takes to the stage 8.45pm, €8/€10 ■ Saturday The International Comedy Club Early and late shows 8pm and 10.30pm, € ■ Sunday What’s New at the International New material night

The Bankers Trinity St., D2

Twisted Pepper

Comedy improve with The Craic Pack 9pm, €8/€10

54 Middle Abbey Street

■ Fridays Comedy Ireland holds their weekly Voice Box, Zocorro and Street Justice Showdown nights 8pm, Free

■ Saturdays Stand Up @ The Bankers 9pm, €8/€10

The Flowing Tide

Shebeen Chic South Great George’s St., D2

Lower Abbey St., D1

■ Fridays Neptune Comedy Night

■ Sundays Comedy Crunch Stand-up comedy 9.00pm, Free

Peader Kearneys

The Belvedere

64, Dame St., D2

Great Denmark St., D1

■ Fridays ‘The Comedy Galf’ boasts international comedians and drink specials 9.00pm, €10/€8/€5

■ Sundays Comedy Dublin host Sunday improv sessions. 8pm, €5/€6/€8

■ Thursdays & Fridays

Comedy once-offs October ■ Eat Cake Exchange Dublin Temple Bar, D2 Historical panel show 17th November 7.00pm, Free ■ A Betrayal of Penguins:

Don’t Run with Scissors

The International Bar, Wicklow St, D2 8th–10th November 6.00pm, €5/7 ■ Keith Farnan ‘No Blacks. No Jews. No Dogs. No Irish. (All Welcome)’ Project Arts Theatre Temple Bar, D2

1st – 6th November 8.00pm, €12/15 ■ Neil Delamere ‘Implement of Divilment’ Vicar Street 12th November, €28

Bond’ Civic Theatre, Tallaght, D24 16th–20th November 8.00pm, €20–25

■ Voicebox (15) Twisted Pepper December 3rd Cian hallinan and friends

■ Matt Berry of The IT Crowd & Garth Marenghi’s Darkplace Crawdaddy, Harcourt St, D2 20th November 8.00pm, €14/17

■ Des Bishop ‘My Dad was nearly James

■ Tommy Tiernan ‘Crooked Man’ Vicar Street 17th – 21th November, €35

■ Mon €75+5 Texas Holdem Freezeout 8:30pm

■ Wed €20+5 Texas Holdem Rebuy 8:30pm

■ Fri €55+5 Texas Holdem Scalps 8:30pm

■ Sun €50+5 Texas Holdem Freezeout 8:30pm

■ Tue €50+5 Texas Holdem Double Chance 8:30pm

■ Thur €95+5 Texas Holdem Double Chance 8:30pm

■ Sat €120+5 Texas Holdem Freezeout 8:30pm

■ Special Event Last Thursday of every Month - €250+20 Freezeout. Biggest regular poker

Poker October Fitzwilliam Card Club Online booking www.

tournament in Dublin with 140+ players. 8:30pm

Classical music October Mon Nov 1st

Sat Nov 6th

Ambient pianist performs from Le Onde and I Giorni

■ Orchestra of St. Cecilia National Concert Hall €25/30/35, 8pm Performing Beethoven, symphonies 1, 2 and 5

■ The Four Seasons by

Fri Nov 12th

Wed Nov 3rd ■ Béal Festival National Concert Hall €12, 7.30pm A night of Irish composition and performance

Mario Lanza National Concert Hall €32.50/38.50, 8pm With Vladimir Jablokov and the Slovak Festival Musicians

Friday Nov 5th ■ Chopin Recital National Concert Hall €15, 1.05pm With Neil Cooney, pianist ■ RTE National Symphony

Orchestra National Concert Hall €10/18/24/30/35, 8pm Mountain Light and Shade, with performances of Mozart.



Candlenight National Concert Hall €23/35/41/44.50, 3.15pm, 8pm ■

Sun Nov 7th

■ Conor Linehan National Concert Hall €15, 1.05pm Performing Schubert, Chopin, and Stravinsky

Anne Sofie von Otter National Concert Hall €50/55/60, 8PM Swedish mezzo-soprano.

Tuesday 9th ■ Music from Brian Eno’s

Apollo National Concert Hall €25/30, 8pm Performed by Icebreaker and B.J. Cole

Wed Nov 10th ■ Connor McKeon National Concert Hall €25/40, 8pm With the Legends of Swing

Thurs Nov 11th ■ Ludovico Einaudi National Concert Hall €25/30/35, 8PM

■ RTE National Symphony

Orchestra National Concert Hall €10/18/24/30/35, 8pm The Virtuoso Orchestra, performing Respighi, Tchaikovsky, and Bartok

Tues Nov 16th ■ The Mikado National Concert Hall €30/35, 8pm Gilbert and Sullivan’s masterpiece

Wed Nov 17th ■ The Mikado National Concert Hall €30/35, 8pm

Thurs Nov 18th ■ The Mikado

National Concert Hall €30/35, 8pm

no. 9 ■ University of Dublin

Tues Nov 30th

Choral Society

Fri Nov 19th ■ The Mikado National Concert Hall €30/35, 8pm

Sat Nov 20th ■ The Mikado National Concert Hall €30/35, 2.30pm/8pm

Mon Nov 22nd ■ Andrea Bocelli The O2 €60, 7pm Post Russia result, back to being Ireland’s favourite Italian ■ Chopin 200 National Concert Hall €12, 8pm With the RIAM Chamber and Symphony Orchestra

Wed Nov 24th ■ Martin Hayes National Concert Hall €11/27/33/38, 8PM With the RTE Orchestra

Exam Hall, Trinity College Dublin €10/15, 8pm Conducted by David Leigh

Fri Nov 26th

■ Cecilia Bartoli National Concert Hall €55/65/70/80, 8pm Mezzo-soprano, with the Kammerorchester Basel

■ RTE National Symphony

Wed Dec 1st


■ Yuletide Pleasure Mill Theatre €28.50/25, 8pm Featuring Liz Ryan (mezzo soprano), Brian Hoey (tenor) and Paul Linehan (tenor).

National Concert Hall €10/18/24/30/35, 8pm By The Waters of Babylon, performances of Sibelius and Nielsen

Sat Nov 27th

Thurs Dec 2nd

■ Friends of the NCH

Annual Gala

■ Yuletide Pleasure Mill Theatre €28.50/25, 8pm

National Concert Hall €35/45, 8pm Programme of arias from Romeo et Juliette, Manon, Norma and more.

Fri Dec 3rd ■ RTE National Symphony

Sun Nov 28th


■ NYOI 40th Anniversary

Gala Concert National Concert Hall €20, 8pm Performing Dvorak’s Symphony

National Concert Hall €10/18/24/30/35, 8pm Russian Fables, performances of Prokofiev and RimskyKorsakov

Jazz November Sunday

10.30pm, Free

â&#x2013; Jazz And Sushi Yamamori Sushi 38 Lower Ormond Quay, D1 7.30pm, Free Nov 7th Kevin Morrow Trio Nov 14th Cary Posavitz Trio Nov 21st Kevin Morrow Trio Nov 28th Cary Posavitz Trio

â&#x2013; The Merrion Gates Fitzpatrick Castle, Killiney 12.30pm, Free Dixieland Jazz Band â&#x2013;  Jazz Globetrotters Purty Kitchen, Temple Bar 6pm,Free â&#x2013;  Globetrotter Quartet Shebben Chic, 4 South Georges St

15 Lwr Pembroke St 8pm, Ă&#x201E;7

â&#x2013; Max Greenwood Town Bar & Grill, Kildare St 7pm, Free


â&#x2013; Stella Bass Trio CafĂ&#x2C6; En Seine, Dawson St 2pm, Free

â&#x2013; Isotope JJ Smythâ&#x20AC;&#x2122;s, Aungier St 9pm, Ă&#x201E;10

â&#x2013; Louis Stewart Stags Head, Dame Court 6pm, Ă&#x201E;8

â&#x2013; Alex Mathias Quartet International Bar, Wicklow St 9pm, Free



â&#x2013; Hot House Big Band The Mercantile Bar, Dame St 9.15pm, Ă&#x201E;8 18 Piece Big Band

â&#x2013; Kevin Morrow Quartet Mespil Bar, Burlington Hotel, D4 7.30pm, Free

Wednesday â&#x2013; Jam Session Centre for Creative Practices,

November (One Offs)

Sun Nov 7

Thurs Nov 18

â&#x2013; Emilie Conway Trio Bewleys 8.30pm, Ă&#x201E;10

â&#x2013; Madeline Hawke Bewleys 8pm, Ă&#x201E;10

Thurs Nov 11

Sat Nov 20 â&#x2013; Linley Hamilton and The

Thurs Nov 4

â&#x2013; Emilie Conway Trio Bewleys 8.30pm, Ă&#x201E;10

â&#x2013; Edel Meade and The

Sat Nov 13

Sat Nov 27

Bewleys Cafe Theatre, Grafton St 8.30pm, Ă&#x201E;10

â&#x2013; Honor Heffernan Quartet Bewleys 8.30pm, Ă&#x201E;18

â&#x2013; Suzanne Savage Band Bewleys 8pm, Ă&#x201E;10

Sat Nov 6

Sun Nov 14

â&#x2013; Manteca The Cobblestones, Smithfield 9pm, Ă&#x201E;8

â&#x2013; Aoife Doyle Bewleys 8pm, Ă&#x201E;10

Wed Nov 3rd â&#x2013; Clare Dunne Trio Sheebeen Chic, South Georges St 9pm, Free

Johnny Taylor Trio

Johnny Taylor Trio Bewleys 8pm, Ă&#x201E;12


There is a huge resurgence and interest in 40â&#x20AC;&#x2122;s swing and jazz music at the moment worldwide and all you have to do is look at the two recent sellout nights from Michael Buble here in Dublin, with just under 100,000 fans turning up to see and hear the sound and spectacle of his big band and crooner voice. Who better to encompass all of this in Dublin at the moment than the Hot House Big Band who have just found a weekly residency at the newly revamped Mercantile Bar, 28 Dame Street, moving from their old haunt down on Eden Quay to this more than ideal location. These guys are the hardest working swing band in the country and if you havenâ&#x20AC;&#x2122;t seen them play live yet, with superb lead vocals from Charlie Cavanagh, make it your business to drop by, with the band on stage from around 9.15pm every Monday. Just around the corner, upstairs at the Stags Head, on Dame Court, you can now find the living jazz guitar legend Louis Stewart every Sunday from 6pm as a trio, along with Myles Drennan (piano) and Mick Coady (double bass). Louis has had a few stop-starts this year finding a new home since he finished his last long running residency at Le Cirk, before the Le Basement jazz club morphed into a techno/reggae bar! But I think Louis and his very supportive and loyal fans are going to love this room with its Victorian era fixtures and furnishings and great acoustics. Support this man because when you hear him play, you will see he is doing something he utterly enjoys and the sounds he wrings out of his guitar are astonishing, and have to be heard to be



believed. Earlier in the day, you can do no wrong than head to Cafe en Seine, Dawson Street where they have a great Sunday jazz brunch with the delectable Stella Bass Trio ( from 2pm with great food and sublime cool jazz. Bewleys Cafe Theatre, Grafton Street will be a hotbed for jazz with no less than eight jazz gigs this month from the raunchy sound of Aoife Doyle (Nov 14th) to what is one of my favourite jazz gals in town, Emilie Conway, singing Abbey Lincoln. Abbey Lincoln who sadly passed away in August of this year was a US jazz vocalist, and 50â&#x20AC;&#x2122;s nightclub singer who was married to jazz drummer Max Roach. Emilie has been singing numbers originally done by Abbey for quite some years now and has decided to entertain

us with a whole night of smoke-drenched and cocktail-induced sounds from the ladyâ&#x20AC;&#x2122;s back catalogue and this happens on two nights, Sunday (Nov 7th) and Thursday (Nov 11th) with doors both nights 8pm. Highly recommended! (www. An NYC-style cocktail and bourbon bar opens the end of this month just off Grafton Street and the nightly entertainment could well be jazz, full details next month. Nice! Until next issue, why not checkout Ronnie Scottâ&#x20AC;&#x2122;s jazz club (London) 24-hour jazz station at www.ronniescotts., as we have virtually no jazz on Dublinâ&#x20AC;&#x2122;s airwaves these dark and cold nights.

Your music sounds like there’s a lot of British late 60s, early 70s influence to it, Bowie or the Kinks or Nick Drake. Yeah, I’m interested in basically most records that were made in the early 70s, the way that they sounded and the sort of instruments they were using. And that’s what I wanted it to sound like, that’s what I had in mind. You once said you’d prefer someone to download your music for free than to not hear it at all. I didn’t really say that. That kind of sounds like I’m desperate for people to hear it. I’d rather that they downloaded it than that they couldn’t afford to download it. I’ve been skint. I’ve done shit jobs and had no money and I couldn’t afford records. And it didn’t cost me money to make the album, so I don’t have a big beef with giving it away for nothing. How is your live show? Do you think the crowd expect a comedic persona from you? I would imagine, yeah.


So you might know Matt Berry from the IT Crowd, but he does music too. With the trademark baritone voice familiar from confrontationally weird boss Douglas Reynholm, he sings songs that seem to be in homage to the great British pre-punk tradition. He’s been making music longer than he was ever an actor or a comic, but since then he’s gained in an uncannily cred-worthy list of credits. It started with Garth Marenghi’s Darkplace, a sitcom about a programme about an overacted, underfunded 80s hospital drama, with the added excitement of the supernatural. Meta stuff. Between then and now he’s done the Mighty Boosh, a series called Snuff Box with fellow Boosh alumnus Rich Fulcher, work with Adult Swim in America, a small part in the Sam Rockwell existentialism-in-space epic Moon, and even a nixer doing voiceovers for the Driver’s Theory test in the UK. A noteworthy voice, then. This is what it said. I was wondering if you’re tired of writeups always starting with ‘So you might know Matt Berry from the IT Crowd, but he does music too’? Yeah, I think that’s safe to say. But I kind of expect that.

There isn’t one, presumably. Well no. I’ve never been able to take anything particularly seriously anyway. They don’t get a serious muso with his back to the audience. I give them some fun hopefully, a bit of a show. I get bored really quickly, so I would kind of have to make it fun for myself anyway. Are you conscious of it being a side thing at all? No, I’ve never thought of it like that, maybe because I was doing it first. Before the comedy. So how did you initially get into comedy then? It was an accident really, I was just playing some songs before the Boosh came on, years ago, sort of rude songs. And it just went from there, I ended up doing Darkplace and it kicked off from there. I never had any game plan for being in sitcoms or doing any kind of comedy really. So what do you think about Darkplace becoming almost a must-watch for people who get really into comedy, even though it didn’t have much success initially. Well that did absolutely nothing when it came out. No-one gave a monkeys. It didn’t have any viewers as far as I can tell. It was put on after Father Ted, so after Father Ted ended I think everyone just turned over. ››



Why do think it got a cult following? It’s not very broad, so it wouldn’t have got a massive audience anyway. It just sort of found its rightful audience, it took ages, but it’s still cult viewing. And by that I mean it’s seen by a very small amount of people. What did you expect while you were doing it? I was kind of surprised to be doing it to be honest. It was great fun. And it’s good work. I was in the London Dungeon and in call centres the weeks before we did that, so it was a massive bonus for me. So the IT Crowd is the flipside of that, it’s Graham Linehan, it’s more conventional, it’s got broader humour. It’s more guaranteed to get viewers. How do you feel about doing that in relation to the more obscure stuff. It wasn’t as broad as it is now when I got into it in Series 2. I don’t think it was watched by anywhere near the amount of people that watch it now. I knew it was broader comedy because it was in front of a studio audience, but it didn’t feel hugely different to what I’d been doing. Mainly because there wasn’t any real fuss about it when I first started doing it. Was the part of Douglas Reynholm written for you? It was, yeah. It’s your personality, kind of. Yeah. Well that’s what he says.



So what sort of other programmes do you watch? I watch Autumn Watch and that cook guy who’s on Channel 4. Hugh FearnleyWhittingstall. They’re probably the only programmes I watch. You’ve done a couple of small things on Adult Swim. Yeah. Are you interested in watching that sort of stuff at all? If it’s on Sky I wouldn’t be able to watch it. I don’t have Sky. I like animals. I like watching programmes about animals and I like watching people cook them. Oh, no. Not in a horrible way. Just in a natural way. Not the same animals. No, I don’t ever want to see that. You seem to get into things that are called cult hits again and again. That just means they’re not watched by very many people. But they’re highly regarded by the people who do watch them. I suppose, yeah. Is that something to do with your personality or is it just coincidence? I wouldn’t have a clue. It’s certainly not done on purpose by me.

Are you looking for a breakthrough that’s not a cult hit? I’m not looking for anything. I’m just happy not to be in the Dungeon. Would you take mainstream chart success with your music if it was put in front of you with all it entails? Well I don’t think they would put it in front of me. I don’t think there’s much risk of that. How did you get involved in Moon? Duncan [Jones], who made it, he’s a friend of mine. So he said ‘do you wanna be in it?’ I said, yeah, I’ll do it for you. It’s a really cool film. So if you were in a Royal Rumble with every British comedian ever, who would win? What, a fight? I have no idea. Probably Jo Brand. No don’t write that, because then it looks like I’m being horrible about Jo Brand. Charlie Chaplin. Charlie Chaplin? He’s dead. You didn’t say they had to be alive or dead. That’s true. How would you fix the Irish economy? I would get Bono to buy everyone a pint of Guinness. Would that help? At least you’d know you’d got something off him.

upstage words // ALAN FARRELL who worked in our theatre about ten years ago, who, when she was leaving, asked me had I read the book, and told me it was her favourite book ever. I then read it while I was in Havana in Cuba, and it immediately struck me that this was made for the stage. So it was just the desire to stage this, really. What is it like working with Daniel Reardon? Was he someone that you always wanted to play this part? It sounds like this project has been on the backburner for a while... Yeah, it has. The idea to have Daniel in this came to me instinctively; I was doing a Flann O’Brien thing with Daniel and my son and, again, it just struck me that Daniel was perfect for this part. I had other people in mind, but I then decided that Daniel would be perfect; he’s about the same age as myself and as the protagonist, and he’s from New York, so he fitted the part really well. Did you feel and conflict or self-doubt, perhaps, in dealing with the highly sensitive subject matter. Yes, but for me this story must be told, all these stories cannot be forgotten. The contrast in the horror that happened in the aftermath of this summer the two boys spent, how such evil could come out of that, how such evil could come from such a beautifully civilized society that produced so many famous writers and musicians, how all that could transform, you would think it couldn’t, it’s not possible, but of course, we all know what happened. Is the innocence of the two boys a unique part of Reunion? Absolutely, it’s that contrast again between their lives, their innocence and what happened, how they were affected. There was all this foreshadowing, the swastikas began to appear, rioting between fascists and stories of Jews being attacked. But they couldn’t have been prepared for what happened. Uhlman’s father, who saw himself as a true German, a man who had fought in the First World War for his country and earned the Iron Cross refused to accept this would continue, he thought that it couldn’t happen that, like a disease on the skin, it would go away. And these two boys, one Jewish and one from an old aristocratic family, how all these changes affect them, is very much what makes Reunion special.

IJUMFSZPVUI Reunion is the tale of a summer two young boys spend in the spectre of Nazi Germany. Originally a novella written by Fred Uhlman, it has been adapted for stage by the artistic director of the New Theatre, Ronan Wilmot. Featuring Daniel Reardon as the sole actor, it runs from 8th to 27th November, nightly at 8pm. What was the impetus behind adapting Reunion? Well there was an Australian Jewish girl

It must be a very intense experience for yourself and Daniel? Yes, absolutely, but not just because of the subject matter, the story is intense in and of itself. We’re working hard to make sure that that intensity if with the audience right up until the end. Was there any conversation with Uhlamn’s estate over the adaption? Yes, the wanted to see a performance and they have said that they’re very happy with how it is going. Which much be a huge help to you... It is definitely. It’s going well so far and I feel confident it will be a success.





%&"%$&35 %580 -"#0631"35: 5)&803,."/Â&#x2DC;4$-6#      words // OISĂ?N MURPHY      picture // EMMA BRERETON

Itâ&#x20AC;&#x2122;s exceptionally Had I not Anton decides to cold leaveoutside. me on my own just consumed a skinful back disappearat the house as soon as we enter the club, before theand longlimbs walkwith ing intoventuring a crowd upon of faces along the quays the recently-opened his hands facing to outwards by his hips Workmanâ&#x20AC;&#x2122;s Club, Iheâ&#x20AC;&#x2122;s dareable say to I might be (by which method feel the in slight discomfort. Our breath posteriors of surrounding ladies)rises and as steam asfixed we keep repeating thea chorus his eyes firmly ahead in manner and bridge of Champagne Supernova which suggests towards a slight feelingtoof the sounds falling guiltpercussive about said actionofonour hisfeet part. Thatâ&#x20AC;&#x2122;s on the characteristically drink-mottled as close, however, to remorse or indeed pavements of Dublin a self-examination as hecity willcentre, come at tonight, volume along with the much asthat anyhas, other, in which I amcheap remindwine, made me forget whether weofwere ed of the morbid self-indulgence youth, ever being self-interest ironic or not. Iâ&#x20AC;&#x2122;vepasses explained the casual that as to Anton that I donâ&#x20AC;&#x2122;t know what to expect innocent ebullience and the overarching at all from place;numbers, assumingwe that its feeling that,this in large quite working-class credentials are composed literally are starving ourselves of culture more of Not, colourful flannel and in thisheavily country. of course, wanting thick-to-the-point-of-contrivance Dublin to sound too much like John Waters, in accents (both from Topman) than anysaying that. thing else. coincidence, the night which By sheer first impression our arrival heMy suggested we go outupon on happens to be (at midnight or so) night. is thatSuch weâ&#x20AC;&#x2122;veis entered Junior Cert results evident an inflated versionofofunderage Kehoeâ&#x20AC;&#x2122;s of Anne from the swathes revellers Street, except louder music (compopulating thewith bulging queue outside ing from a DJ booth in the back room) which, graciously, weâ&#x20AC;&#x2122;re able to skip on and a welcome absence ofthe polyester suits account of my reviewing place. The and people taking calls and on the bluetooth. bar manager is cordial welcoming Indeed, there also abut notable of in inviting us is inside, it goeslack rapidly the self-promoting young folks had downhill from there. Inside, theI venue expected to be lining the Instead, it is either over-capacity or walls. its customers

62 56


seems to have attracted a clientèle more are completely unaccustomed to the very typical of an inner-city late-bar: to loose guidelines of etiquette andmid restraint late-20s and in conservative applicable inupwards, your average nightclub. clothing andtodrinking relativesmoking moderaAttempting visit theinupstairs tion. My friendequivalent wants what Iâ&#x20AC;&#x2122;m havingin area becomes to partaking at the protest bar, so gone I order twowith Coors Lights to a G8 awry, bouncers upset him.the Once thatâ&#x20AC;&#x2122;sdue out to of overcrowdthe way, we blocking staircase all through the aclub, ing,wander effectively kettling largeexamining group the various sections Downstairs of us clubgoers into on theoffer. subterranean is the main area. bar, complete with pub-style dancefloor In the meantime, a friend seating a separate of minetowards managesthe to front deter and a man from large, rectangular room punching me in the backatofthe theback headin which people dancing. The know wallbecause, in hisare words, â&#x20AC;&#x153;I donâ&#x20AC;&#x2122;t mounted along bonds the outside of the this guyâ&#x20AC;?.seating Inextricable are formed dancefloor (ie: the entireand room) between young women theirevoke friends, memories of community halls andlife, three holding onto their arms for dear at weeks spent blocking in the Gaeltacht. This and time, full stretch, passageways thankfully, the music of every ABBA, rather staircases, down which thirty secthan language, stumbles is being forced onds aordead so somebody or falls. upon me;sothough I feel similar level of So far good. On thea plus side, drinks alienation the general ambipromotionshere, are while reasonable and, on the ence in the downstairs areaseem benefits from dancefloor at least, people to be being crowded, the smaller enjoying themselves withoutupstairs hitting feels the cramped and unwelcoming as a result deck or feeling the need to shove one of it. another out of the way. However, itâ&#x20AC;&#x2122;s Thetowalls throughout that, the building are clear me, poignantly, as a 21-yearaold deep red, complete with too a functional milquetoast, Iâ&#x20AC;&#x2122;m both old and too wainscot, giving oneIthe impression of timid for this place. wonder how our being somewhere between Stardust and semi-ironic relationship with nightclubs awill pubbeinviewed some shit Roddy all Doyle by history, the book. same. Fire it must(weâ&#x20AC;&#x2122;re be said this Clubregulations, anthems abound in at a club,

I suppose) and most people dance-push point, areof(to untrained eye) for being you out themy way in queueing the keenly and the revelry within bar. Forobserved, a venue in which we ought to is neither maudlinin nor crudely affected. â&#x20AC;&#x153;come togetherâ&#x20AC;?, a loose sense, there The Workmanâ&#x20AC;&#x2122;s Club, in this regard, is little to no camaraderie or empathy seems havethe no actions pretensions whatsoever, evidenttofrom of the many. an oddity the citydisassociating centre where late Maybe Iâ&#x20AC;&#x2122;minactively myself barsâ&#x20AC;&#x2122; seem oscillate between from aesthetics proceedings, buttothe atmosphere is poles of Kings Of Leon-esque designer decidedly culturally hermetic and inhosgrittiness and IEl-Hadji levels ofof pitable. This, will say,Diouf is the â&#x20AC;&#x153;faultâ&#x20AC;? chrome. In this context, actually quite the clientele rather than itâ&#x20AC;&#x2122;s of the staff or nice to be Indeed, surrounded with pre-Haughey premises. thereâ&#x20AC;&#x2122;s something very decor whileand (incongruously) a purposeful self-consciousdrinking about the light beer. However, this is a music venue fun everyoneâ&#x20AC;&#x2122;s having. Their eyes are by design, first and at foremost, andeither to that fixed firmly ahead something end I can seegrasp it being very successful. out of their or fleeting, etherealThe and back room has a capacity of 300 and, perhaps imaginary. What happens inside to my mind, its control, dimensions areindividual. given to is beyond your as an the consumption of Youperformance are part of aand communal experience, live music.or The DJâ&#x20AC;&#x2122;s dictated rather conservative for better worse, by the will of choice of tunes leaves people in a the many. By half pastmost twelve, itâ&#x20AC;&#x2122;s gotten state ofmessy. swaying disinterest or, further a little upAsthe front,the theclub, sort Anton of cadenced I leave grabs fugue me by oneâ&#x20AC;&#x2122;s mother and adopts while cooking gamthe shoulder leads me up Harcourt mon toâ&#x20AC;&#x153;What RTĂ&#x2030; Gold. Street. a night, man,â&#x20AC;? he laughs, Anton shakes his head we walk out thumbing the buttons of aasdoubleonto the street. didnâ&#x20AC;&#x2122;tgo seeinto onethe mot breasted coat heâ&#x20AC;&#x153;Ididnâ&#x20AC;&#x2122;t club under theâ&#x20AC;&#x153;Iage of 25 in tore there,it chap,â&#x20AC;? he wearing, absolutely up in there.â&#x20AC;? laughs, with genuine despair in his I laugh but unenthusiastically as we walk voice, â&#x20AC;&#x153;I mean, wascoming just fullthe of opposite old past two young itmen fuckers.â&#x20AC;? takes a few of paces direction,He into the chest one towards of whom the Liffey and his throws a tea-light (preAnton thrusts shoulder, his eyes, of sumably liftedfirmly from ahead. one of The the tables) course, fixed other in, turning around but withdoesnâ&#x20AC;&#x2122;t an expectant smile. guy is startled, react. There With nonefor forthcoming, he before sighs and is silence a few seconds my says to me: â&#x20AC;&#x153;Youâ&#x20AC;&#x2122;re going toisend up a companionâ&#x20AC;&#x2122;s jovial manner resumed, sad prick,talk mate.â&#x20AC;? smiling, but I withold slurred of aHeâ&#x20AC;&#x2122;s girl whoâ&#x20AC;&#x2122;s skipping think he means Heâ&#x20AC;&#x2122;s too lucid. oughtto Transition Year it. that I donâ&#x20AC;&#x2122;t really Iwant to have morekeep drinks. My on listen to.bought I tune him out and my eyes head bowed against theofintensifying cold, the horizon, the lights Grafton Street Igrowing laugh and it comes outpromise as steam. closer, and the of sleep. The Workmanâ&#x20AC;&#x2122;s Club 60 Harcourt Street 10 Wellington Qy, Dublin 2 Dublin 2 t: 01 4764603

‘Your mother.’ ‘Your mother. And your next door neighbour’s goat.’ This memorable exchange is part of 1997 cult film Spiceworld, during which Richard E Grant’s exasperated tour manager argues with a Spanish roadie while the Spice Girls cover Gary Glitter in the background. I do this not to link Dublin’s newest gay club to the Spice Girls, or even, shudder, his Glitter-ness, but to highlight what is invoked by giving a club a name like ‘Mother’. You imply something natural (Mother love), something camp (Mommie Dearest), something confrontational (yo momma). You expect something good. To give Mother its due, the club has all the makings of success. In an underground venue on the periphery of Temple Bar, on Copper Alley, a street I never previously knew existed despite frequently walking through, Mother is a club with a mission statement. They play only ‘thoughtful’ electro with an aversion to Lady Gaga. The host is activist and graffiti ledge-bag Will St Leger, probably the the closest thing we have to a guerilla art innovator. This guy can create inspiring things in his sleep, so why should he not weave his magic over Mother? But Mr St Leger, I confess that I found yo momma so boring I barely lasted more than an hour. Down in the disco basement, the floor is static with groups of dance-shy guys in neat shirts and sweaters, talking over not-loud-enough music. The lights are too bright, too; Mother is more of a social club than disco, more Irish Mammy than MILF. Hen-night stragglers make attempts at dancing, but the floor is so cripplingly empty that they give up and retreat to the benches. If you’ve been barred from Pantibar

-0$,61:063 40/4 .05)&3 words // ROISÍN KIBERD picture // PETER FINGLETON


and the George you might want to try Mother. But the onslaught of far better Saturday nights on Dublin’s gay scene prompts the question, who actually goes here? With the option of drag ‘Deal or No Deal’ at the Dragon, or the George’s discount drinks, karaoke and ‘Sexy Spanish House’, why pay €10 to languish in this uneventful basement? Mother seems intent on offering an alternative to the irony and glitter of the average gay night; earnest disco classics and an ‘Over 21s’ entry policy might hope to create a ‘mature’ atmosphere, but it backfires on Saturday nights like this, where the awkward guys in shirts stand around in full blown conversation, instead of dancing up a storm. Mother helps raise funds for the ailing, but beloved, GCN magazine, which was created as Dublin’s gay community news. But the loyal supporters fail to show; perhaps we caught Mother on an offnight, but it seems that, like GCN itself, this club is in dire need of sexing up. Un-ironic pop and an Over 21s crowd are all very well, but they risk leaving the club about as fun as a night in with your very own mother.


Mother Copper Alley Exchange St., Temple Bar Dublin 2




gastro words // KATIE GILROY pictures // EMMA BRERETON

DPSOFSTUPOF UIFSVTUJD TUPOF First Conrad, then Dylan. Who’s next to join the ranks of fallen stars on what is sure to become Dublin’s golden culinary mile? It’s still one or two chefs short of a box of Quality Street but the future of Dublin’s boho strip, from Shebeen Chic on George’s Street to Camden Street’s Green Nineteen and beyond, is fingerlickingly bright. The eccentric belong here on this street of second chances. A fully booked restaurant on a Tuesday night suggests this is the case for Dylan McGrath, who appears at home and thriving in his new setting. Rustic Stone touts a relatively new concept in restaurant dining in Ireland. Eschewing the traditional attitudes of the big cat chefs who have got the cream and are not afraid to use it, McGrath’s philosophy is simple; to create excellent dishes without compromising their nutritional value. His menu is less simple however, even convoluted, with more sentences beginning with “Here I’ve made this” or “Here I’ve taken that” than is necessary, but then he is a master of food, not words, and a certain amount of egotism comes with the territory. On a more positive note, the skittle-coloured symbols denoting gluten free (GF), super food (S) and low fat (LF) are rather informative. Our starters are riddled with vitamins and minerals. Amy’s crunchy salad hearts (€6.75) that smugly boast a royal flush of polychromatic symbols (LF) (GF) (WF) (S) (V), and promise to help her sleep better at night, feature various green leaves stuffed with homemade tzatziki, marjoram compote and delicious chutneys. My skewered Asian quails remind me of a feeble attempt at pole dancing in Crete in my wayward teen years, although these birds could probably teach me a thing or two. Draped in paper thin sheets of mango, radish and sprinklings of coriander, the quails’ crispy skin and light brown, tender meat are delicious smeared in the accompanied chutney. Forks are superfluous here and finger licking is mandatory. Brilliantly dubbed the ‘glamburgers’, Amy’s main course is no ordinary twin set of beef patties (€16.90). Made from mince ground from a recipe of different cuts, the flavoursome duo are spilling with smoked cheddar, tomato and lemon chutney as well as herb mayonnaise. Neatly packaged in brioche buns, the burgers fit the palm of the hand like custom-made mittens. A brood of four or five crispy polenta chips come with the dish and we are surprised when our request for ketchup is met by a dollop of Heinz and not an order to vacate the premises! The air in Rustic Stone is thick with smoke as meat sizzles on hot stones at surrounding tables, occasionally causing



the fire alarm to sound. Far from being unpleasant, the aromas and activity add to the rustic ambiance of the place and compel me to order the 8oz fillet steak (€29) that I will effectively have to cook myself. A thick circular cut of raw meat is presented on a piping hot stone. Under instruction from the waiter, I transfer the steak on to a glass plate with undulated edges, scrape off the mushroom and tarragon topping and proceed to slice up the meat before searing it piece by piece on the stone. Dunked into the light hollandaise sauce made from olive oil, each bite is exceptional and I am wholly converted to this caveman style of cooking. A side of pesto, garlic and tomato chips (€4.25) are the icing on the steak and a fruity, textured Cotes du Rhones washes the whole lot down with aplomb. As our waitress clears the heavy wooden boards from our table, struggling under the weight, she tells us she has lost more than a stone since starting work here. Maybe the Rustic Stone diet is the

new Atkins. We feel virtuous as we share a rainbowed assortment of homemade frozen yoghurt and sorbet (€7.95) for dessert. Rolled not scooped, the icy treats include a green Granny Smith flavour, mango, wild berry and vanilla frozen yoghurt, all tasty. McGrath’s Rustic Stone is a world away from his defunct Michelin Star Ranelagh restaurant, Mint, but the quality and inventiveness of his work is no less. Could it be that the notoriously stroppy chef has even lightened up in the past few years or are those prominently perched herb boxes sprouting fresh mint (I think) a practical coincidence? Our meal, including two glasses of red and a cappuccino, cost €89.90 before tip. A reasonable price for an outstanding meal, and as for the matter of McGrath’s long-winded menu, it’s hardly a rock to perish on. George’s Street Dublin 2 t: 01 7079596


$IJDLFO4VQSFNF 5IF(SFFO)FO words // KATIE GILROY picture // EMMA BRERETON Unbeknownst to us, the Green Hen on Exchequer Street is participating in Dublin’s biannual Restaurant Week, offering three courses for €30 from 7.30pm onwards. Pleasant surprise number two is that beyond the unassuming charcoal painted frontage complete with red awning and a moniker stencilled in traditional red font lies an intimate candlelit space with bags of character. The parquet floor sheens like a black river under moonlight and a soft, sonorous buzz simmers gently through the air. If we weren’t already aware of what sort of cuisine to expect from the Green Hen, the vintage posters lining the walls and part of the ceiling touting the Cannes Film Festival and the Cotes d’Azure among other monochrome pin ups of old Gallic movie goddesses are a dead giveaway. Less shocking is that, yet again on an ordinary sort of Monday, I find myself in another fully booked restaurant, boding well for our belly-up economy. We may as well chomp our way out of this mess, I suppose. Since it’s shroom season, I order a few wild ones on toasted brioche to start. The cep sauce is creamy without being too heavy and the flaky bread is crispy yet gives way to my knife. Jane reckons her stuffed squid is better than my fungal feast but only marginally. True, the squid is skilfully cooked, it’s not tough or chewy and the spiced crab filling is delicious, especially in contrast with the sweetness of the rocket infused tomato sauce. But I am partial to my penny buns and their subtle elegance so we’ll agree to disagree

puree and baby beetroot. The vote was unanimous however, we both thought the beef winning. After two stellar courses, we aimed for the hat trick with a rhubarb crème brulee and a ginger pudding for dessert. How could we complain about the flawless creamy brulee or the ditty shortcake biscuit on the side? Dense, indulgent and stinking of ginger, the ginger pud’s intense aroma of fresh root ginger was at first a shock to the system, but could be appreciated once accompanied on the spoon by a cooling dose of homemade coconut ice cream. Tea and coffee was included in the Dine in Dublin offer of €30 for three courses. We sipped on a couple of herbal brews before paying the bill of €77.50. Classy, understated yet oozing character, this Green Hen lays only golden eggs. Brunch should be interesting then.

lest there be a domestic. Full of fantastic French comfort food, we could have gone for any one of the main courses offered on the Dine in Dublin menu. The monkfish Bourguignon sounded divine, the gnocchi with pine nuts celestial, and the pork fillet with croquettes like winter-warming heaven. But my choice of braised fillet of beef with more mushrooms – creamed chantrelles this time - and some really pungent mustard mash was right on the money. There was no labour required in deconstructing the fillet, its flesh simply surrendered to my fork. Stuffed with goat’s cheese, Jane’s supreme of free range chicken was a solid dish. Smooth and decadent, the filling gave its poultry host a lift and was well matched with garlic mash, celeriac

33 Exchequer St., Dublin 2 T: 01 6707238

Ranelagh Uncorked! 2010 Monday 15th - Friday 19th November


Wholefood & Vegetarian

Cornucopia Restaurant 19/20 Wicklow Street, Dublin 2. Live Music Thursday to Sunday: 7.30-9.30pm Tel: +353 1 677 7583 Fax: +353 1 671 9449 Email: - OPENING TIMES Monday to Wednesday: 8.30 – 9.00 Thursday to Saturday: 8.30 – 10.30 Sunday: 12.00 – 8.30

3 + 3 €35

Dublin’s finest bar and restaurant in a unique waterside setting Function rooms available


Glasses of Wine

Millenium Tower Charlotte Quay Dock Dublin 4 01-668 8862




bitesize words // KATIE GILROY picture // EMMA BRERETON

5BTUFPG $ISJTUNBT Sponsored by purveyors of Christmas magic, M&S, the inaugural Taste of Christmas is the only way to greet the festive season with style this year. Playing host to the event which runs from 26 – 28 November, the Convention Centre will be decked with glamour and seasonal spirit as a sleigh-full of chefs descend upon the venue to participate in the 50 minute Live Christmas Theatre Show. Join Hector as he stirs things up with Kevin Dundon and Gino d’Acampo plus special guests in the 2000 seater auditorium as they entertain and inform with fun challenges and Christmas cook-offs as well as sharing top tips for a truly memorable turkey dinner. Heston Blumenthal of Fat Duck fame will also make an appearance alongside Donal Skehan, Conrad Gallagher and Catherine Fulvio. To book tickets call 0818 300030.





If he wasn’t in the Food Game, Ross Staunton would probably be in marketing. The Ballymaloe-trained chef managed to drum up a load of publicity for his newly opened food store in Ringsend recently by offering free coffees when ordered ‘as Gaeilge’. Not only did his clever ruse result in a load of chancers queuing out the door of his South Lotts siopa with their cupla focail, twitching for their free fix but it also got the attention of none other than Ireland’s chief gaelgoir, Hector O hEochogain who invited him onto his radio show the following morning. Genius. Heir to a family toy business, Nimble Fingers, Ross isn’t playing around when it comes to food. His food store stocks local Irish products where possible including granola from fellow Ballymaloe alumni Paddy O Granola, and luxurious chocolate from Wicklow Fine Food and he only sells wine from Italy, Spain and France to save on air miles. At the deli there’s an array of pastas, salads and quiches made daily to be eaten in or taken away, as well as a plethora of baked treats such as rice krispie squares, banana bread and fresh scones. A brunch menu is due to start soon as are a series of cooking demos that include dinner and a glass of wine for €50. In the meantime, test your culinary skills with one of the many simple recipes Ross is known to scribble on the big blackboard for all to see. Conveniently, all the ingredients you’ll need are within arm’s reach. Don’t hate the playa…

Nicknamed the corner of death by some, in the past few years no fewer than four pubs have come and gone from the Wexford Street location that was once Carnival and more recently Feile. The new occupant, an aptly titled beer bar called Against the Grain not only serves an array of beer from around the globe but produces a range of ale and lager in a microbrewery in Salthill, Galway. So the beer connoisseurs amongst us will be happy but the foodies should be pleased too. Against the Grain offers a varied menu that changes weekly and includes traditional pub grub with a twist like lentil dhal, sautéed lambs liver and bacon or goat’s cheese and chorizo salad. There’s no chance of catching the footie here since the unconformists have ruled to make this place a TV free zone but there’s a supply of board games stacked down the back to keep the age card carrying kids entertained.

10 South Lotts Road Ringsend Dublin 4 t: 01 2815002

11 Wexford Street Dublin 2 t: 01 4705100




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sound bite words // KATIE GILROY

Best for… Winter-warming comfort food: The Winding Stair is great for a good old Irish meal!

A first date: The Port House is a great little Spanish tapas bar in a cellar on South William Street, it’s very atmospheric with old brick walls and only candles for light- you can’t get more romantic!

Cheap eats: Night-Time@Harry’s Cafe Bar in Dun Laoghaire has great meal offers for really tasty food and a really great atmosphere an absolute must try!

Convenience: I grew up eating at the Casa Pasta in Howth, it’s got a great selection of really hearty grub with lots of variety.

Brunch: Munchies. I love a good bagel there with cream cheese and bacon!

Ethnic fare/Somethin’ different:

KBNNZPMJWF EPOBMTLFIBO He was briefly involved in a pop band called Industry but we’ll leave it up to his mates to slag him about that. These days Donal Skehan is busy being ‘Ireland’s answer to Jamie Oliver’, imprinting his stamp on canteen menus across the country while regularly updating his highly popular food blog ( with delicious recipes and mouth watering photographs captured with his Canon 400D camera. At this year’s Taste of Christmas Festival, the Howth native will be taking part in the live theatre cooking shows alongside Gino d’Acampo and Kevin Dundon which will run from 26-28 November in the Convention Centre’s state of the art auditorium. Leading up to the event, we asked Donal to take us on a tour of his best bits of ‘Grublin’ (see what we did there?) in nine tasty bites…

I love Cafe Mao, Wagamama, Yamamori. All great for taste of Asian flavours!

Tweats: Fallon and Byrne are great on Twitter and although I have only eaten there twice, I am absolutely obsessed with the amazing food hall. It’s great for picking up ingredients you wouldn’t see elsewhere.

Tea and cake: I have yet to get up to it but word on the street is the Cake Cafe is the place to go for all things tea and cake!

What’s Dublin’s best kept secret? Ukiyo Bar on Exchequer Street, a great little Japanese eatery. They have a great selection of dishes and even a bento box special at lunchtime. But the best part of all is they have private Karaoke rooms in the basement - a fairly hilarious way to end a great meal!





Restaurant Guide



Le Bon Crubeen

On the doorstep of the Swan Centre lies one of Rathmines’ best kept secrets. Kafka offers affordable, wholesome, and well-made brasserie fare at a reassuringly reasonable cost. The sparse, minimal décor goes hand in hand with the delicious diner-style food; free of pretence and fuss. With a varied but not overstretched menu, Kafka touches enough bases to cover most tastes. Appetizers range from delicious chicken wings to golden breaded brie, while the main menu offers up anything from hearty bangers and mash, to porcini mushroom risotto. While their prices are easy on the pocket, Kafka cuts no corners with quality of their food.

Odessa is Dublin’s original dining lounge, a mesh of style and substance. Thanks to its newly-popular Fivers menu, its defining quality has become offering affordable sophistication. The restaurant offers a mouth-watering menu renowned for its tapas-style offerings and an unparalleled cocktail menu, all in a chilled-out atmosphere.

A relative new comer to Dublin’s restaurant scene, Le Bon Crubeen is a refined yet unpretentious brasserie. With food quality at the forefront of their philosophy, the people behind this Talbot Street establishment serve up honest, well sourced, brasserie fare. Impressive rotations of weekly specials accompany a menu that offers up among other things, pork belly, and Steak frite, the benchmarks of any brasserie worth its salt.

236 Lower Rathmines Road, Dublin 6

14 Dame Court, Dublin 2

t: 01 670 7634

81- 82 Talbot Street, Dublin 1 t: 01 704 0126

t: 01 497 7057

The Best Western Dublin Skylon Hotel

The Green Hen

33 Exchequer Street, Dublin 2

Upper Drumcondra Road

Open for lunch, dinner, brunch, and snacks, Exchequer Street’s Green Hen offers one of Dublin’s most idiosyncratic menus - with mains ranging from fresh sea trout to tartlet of St. Agur cheese, and duck and mushroom pie amongst the daily specials, the Green Hen’s platters are unparalleled. Traditionalists, fear not - ribeye steak, and duck confit all offer equally delicious options for the less adventurous.

The Rendezvous Room Restaurant is open for both breakfast and dinner. Enjoy a delicious meal in the relaxing and pleasant surroundings, with both A La Carte and Table d’Hote Menus available. The Skylon also boasts a superb selection of wines to choose from. Enjoy a drink or a meal in the Cosmopolitan Bar, newly decorated in traditional Irish style. This is the ideal meeting point for any occasion and is a favourite with locals and visitors alike. Evening menu is also available.

t: 01 6707238

t: 01 808 4418

The Exchequer

Teddy’s Ice-Cream & Grill

A bright addition to Dublin’s growing ‘gastro pub’ scene, The Exchequer abides by its mission to provide fresh, simple, and wholesome food to accompany its impressive selection of cocktails, wine, and imported beers. The stylish and plush surroundings encourage relaxation, but their approach to cuisine is anything but lax. Their well thought out lunch and dinner menus are outdone only by the Sunday roast, which is fast becoming a weekly institution.

99-cone institution for nearly 60 years in Dun Laoghaire, Teddy’s Dundrum Grill offers another side to one of Dublin’s most-loved establishments – Teddy’s offers steak, spare ribs, and burgers par excellence, without destroying your wallet in the run-up to Christmas. And yes, they still do the best ice cream in town.

3-5 Exchequer Street, Dublin 2

Dundrum Town Centre

t: 01 2964799 t: 01 670 6856


Meeting House Square, Temple Bar, Dublin 2 The acclaimed, award-winning Eden restaurant serves contemporary food with a distinctive Irish flavour, overlooking the vibrant Meeting House Square in Temple Bar. With a set of mouthwatering dishes available for mains, from mushroom tarts to duck confit, and a stunning location, Eden is one of Dublin’s must-eat experiences.

t: 01 670 5372




Café Carlo

Anne’s Lane, off South Anne St, Dublin 2

63 - 64 O’Connell Street, Dublin 1

Venu has enjoyed a loyal following since it opened in 2006 and it has been renowned for its well-executed, varied food menu and for its award-winning cocktail bar. If you are looking for a vibrant place that serves great cocktails and quality ‘home-made’ dishes at reasonable prices it is hard to look much further than Venu Brasserie. Tues - Sat: Dinner 5.30 til late Saturday Brunch: 12pm til 4pm

The relaxed and intimate setting of Café Carlo, coupled with its high-quality, reasonably priced food and friendly, attentive staff has made this restaurant a huge favourite with Dublin diners. Not only is it a popular choice with visitors to our fair city, it's also found a place in the hearts of the discerning locals, who return time and again to soak up the Cafe Carlo atmosphere and enjoy some genuinely delicious food. Free glass of wine with every main course when mentioning this ad!

t: 01 67 06755

t: 01 888 0856

Yamamori Sushi

Coppinger Row

Bloom Brasserie

Yamamori has two locations in Dublin City centre, Japanese restaurants with a wide variety of Japanese dishes from sushi and sashimi to Japanese grill and tempura. This restaurant has 15 years of experiance in the Japanese food business. Yamamori Sushi is located in the heart of Dublin over looking the Ha’penny bridge. The restaurant has a 300 seat capacity, one of the largest venues including four different dinning areas one of which is our newly decorated Bamboo garden. The restaurant has a large open plan kitchen complete with a sushi bar. Sit back and enjoy one of our Japanese movies and keep an eye out for our Japanese girls wearing traditional Japanese Yukata. Try our Jazz Sushi Sunday Night gig at Yamamori Sushi on Ormond Quay Dublin 1, a perfect way to wind down the weekend.

The Bereen brothers from the South William Urban Lounge have created an exciting new option for dining out in Dublin: fresh, simple Mediterranean dishes, perfect for diving in and sharing with friends, family and work colleagues alie, in the funky laid-back atmosphere of Coppinger Row, slap-bang in the middle of the coolest quarter of south city Dublin

Bloom Brasserie is a restaurant with lofty ambitions. With an excellent head chef well versed in the traditions of French cuisine, Bloom’s offers up accessible cuisine that accentuates their quality local ingredients. Head chef Pól Ó hÉannraich has lovingly assembled a menu that sees Angus Beef carpaccio alongside Caramelised King Scallops, and Roast Seabass. All dishes are freshly prepared and cooked to perfection.

t: 01 8720003

t: 01 672 9884

38/39 Lower Ormond Quay, Dublin 1 /

Off South William St, Dublin 2

Mon - Sat Lunch Menu 12 - 3pm Afternoon Menu 3 - 6pm Dinner 6 - 11pm Sunday Brunch 12.30 - 4pm Evening 6 -9pm

11 Upper Baggot Street, Dublin 4


Unit 1 Old Orchard Inn, Butterfield Ave, Rathfarnham, Dublin 14 Attached to the Old Orchard Inn, this Chinese restaurant on Rathfarnham’s Butterfield Avenue has an extensive menu, which couples traditional Chinese cuisine with several house specialties. Cantonese style fillet of beef and black pepper spring lamb head a thoroughly enticing menu.

t: 01 493 4938 t: 01 668 7170

Tante Zoe’s

Diep Noodle Bar

1 Crow Street, Temple Bar, Dublin 2

Ranelagh Village, Dublin 6 Thai and Vietnamese food experts, Diep, offer a great value noodle-based menu with an exciting and exotic range of dishes including soups, salads and stir-fries. Diep Noodle Bar’s Bangkok Street Food menu is a steal and includes three courses of soup, appetiser and main course for €16 available Monday to Sunday until 7pm. With it’s fresh and genuine approach to cooking alongside it’s popular cocktail bar, warm hospitality and it’s releaxed but vibrant atmosphere. Diep Noodle Bar is a firm local favourite.

Temple Bar, Dublin’s own French Quarter - is an appropriate home for this lively Cajun/Creole restaurant where great music meets great food. Try the gumbos, Jambalayas and blackened dishes... You won’t find better this side of the Mississippi. Originated from Louisiana, and is a combination of American Indian, African, French and Spanish cuisines - and it’s Tante Zoe’s speciality. Tante Zoe’s also has private rooms to cater for parties of 20, 40 and 100 people.

t: 01 6794407

t: 01 497 6550

The Chili Club

Yo Thai

1 Anne’s Lane, South Anne Street, D2

Deerpark Road, Mount Merrion, Dublin 18

Just shy of its 20th birthday Dublin’s Chili Club has had a welcome restyling and is now under new management. Quietly hidden away in Anne’s Lane opposite Kehoe’s Pub, the Chili Club was Dublin’s first Thai restaurant and has since its heyday been consistently serving, delicious, authentic Thai food. A recent makeover of cool greens and vibrant fuschia, along with a new bar breathes fresh life into the premises. It has long been a popular spot with local stockbrokers and visiting celebrities and continues to draw an eclectic clientele. A two course lunch is €9.95, three course €12.95 and a recessionary early bird menu is priced at a tempting €14.95. Combine these reasonable prices with cool tunes, friendly staff and a carefully selected wine list, this makes the Chili Club an ideal place for after work supper or a great night out.

This much loved fusion restaurant marries traditional Thai food with the energy of Japanese Teppanyaki tables. Whether you want their highly skilled chefs to put on a show cooking at the table, or simply order food to you table, Yo Thai is a reliable source of good quality East Asian cuisine.

t: 01 288 8994

t: 01 677 3721


Il Primo

The Farm

Chai Yo

For over 15 years Pacino’s has been a family-run restaurant known for its delicious ‘Classic & Gourmet’ pizzas and pastas, steaks and salads. It serves traditional, fresh, quality Italian cuisine. Its beef is 100% Irish, and sourced from reputable suppliers, and its pizza dough made fresh, inhouse, daily. Pacino’s offers a modern dining experience, with an old world vibe – stylish brickwork, wooden floors and soft lighting all combine to create a relaxed, rustic, informal atmosphere.

Il Primo is one of the longest-established Italian restaurants in Dublin’s city centre. For over a decade, Il Primo has been serving rustic Italian food paired with some of the best wines that Tuscany has to offer. Most of its wines are imported directly to Il Primo and cannot be found anywhere else in Ireland. The restaurant is located in a romantic period house, which has been converted into a lively, homely bar area and a cosy and intimate dining room, located five minutes from St. Stephen’s Green. The emphasis throughout Il Primo is on providing some of the finest wines from Tuscany with a range of simple and delicious Italian dishes in the heart of Dublin.

The Farm is about tasty homemade locally sourced free range, organic and fresh food. Healthy vegetables and fresh herbs. All their food is freshly prepared and cooked to order.

Famed for their Teppenyaki tables creating a unique and interactive eating experience, as well as meals made from the freshest, highest quality ingredients and a great party opportunity, Chai Yo perfects the balance between fun and food. For the less party-inclined of visitors, there is a quieter downstairs section. Something for everyone!

18 Suffolk St., Dublin 2

t: 01 677 5651

16 Montague Street, Dublin 2

t: 01 478 3373 Email:

3 Dawson St, Dublin 2

11 am to 11 pm 7 days a week

t: 01 671 8654

100 Lower Baggot St, Dublin 2

Mon-Fri:12.30-3pm, 6pm-11.30pm Sat: 5.30pm-midnight Sun: 3pm-10pm

t: 01 676 7652 TOTALLY DUBLIN



Retro Fonts Gregor Stawinski [Laurence King] For many people, letters are just letters. But for others, they are just as important as the words they spell out. I for one would seriously question someone who non-ironically adopted Comic Sans as their chosen typeface. If you are equally judgmental regarding typography, Retro Fonts might be a book that appeals to you. More of a sourcebook than a comprehensive history of lettering, Retro Fonts largely lets the typefaces speak for themselves, bar the odd introductory paragraph. Fonts are divided into groups by era, from the foundational Gründerzeit and Gold Rush, documenting nineteenth-century typography, through to the post-modernism of Walkman, Rubik’s Cube and Gen X. Dotted throughout are examples of selected fonts in use - from Nazi propaganda posters (apparently Hitler was quite fond of Potsdam) to the Sex Pistol’s iconic God Save the Queen record sleeve, which uses Broken 15. “But what is the use of having all these beautiful fonts in a book, where one is unable to use them?”, you may well ask. Well that’s where the CD stashed in the back cover comes into play. 222 of the fonts are also compiled digitally, and in true typography geek style, they too are organised neatly into folders by era - so at last you can unleash your Mamma Gamma upon the world. Although Retro Fonts could perhaps do with a little more descriptive content (a more detailed historical backdrop, putting the designs into context, would be nice), this is an essential handbook for anyone who even dabbles in graphic design - or is harbouring a secret penchant for a carefully crafted letter. If only the whole world typed in FontleroyBrown... - RA

ZJ - Zoe Jellicoe RA - Rosa Abbott DG - Daniel Gray



Esquire UK Monthly [National Magazine Co.] November is ostensibly Esquire’s mavericks issue – the B&W subscribers-only cover offers magnetic man James Franco in Jimmy Dean mode. Aside from Franco, Jeremy Langmead’s editorial struggles to glue together Kate Moss, David Sedaris and Ronnie Corbett as actual exemplars of badassness and not, in fact, the only celeb names the pre-Christmas scramble for shop-rack prominence researchers could drag up (he does so amidst an entirely gratuitous story in which Katy Perry calls him and requests that he might refrain from printing any full-naked shots in their then-current issue – we’ve all had that phone call, Jeremy). Whatevs – Esquire, like its female-orientated counterparts, subscribes to a style-with-justenough-substance-to-get-by ethos, boasting a tradition of exemplary design, illustration, and Tom Ford suits as long as Private Eye’s libel bills. The design team behind EsqUK have hit on a particularly admirable formula – classy without cliché, which allows it a position as a magazine analog of Mad Men (check this month’s Russian edition cover of an imposing John Hamm), and thus it gets away with over-cognac lad-chat like ‘What she wants: green suede shoes, worn with nothing else’ and running an entirely extraneous six page feature on Kate Flipping Moss. Still, any magazine that fits Turkmenese politics, Genesis P’Orridge and Liam Gallagher into one edition warrants a Chrimbo subscription. - DG

Bernhard Schlink The Weekend [Pantheon] Jörg, convicted murderer and terrorist, has just been released from prison. His friends, who were Baader-Meinhof sympathisers or those who clung to them, are gathered together for a weekend, organised by Jörg’s obsessively concerned sister, Christiane, to celebrate his freedom. Schlink provides, in The Weekend, a series of masterful and intelligent character studies. These meditations concern the struggle which each individual faces between the interior self, and the self which resides in the exterior, political world.

Several important conflicts, which centre around Jörg, emerge quite early on. Andreas and Mark begin a fight for Jörg’s soul: while Andreas speaks of the pardon, release from prison, and the threat of probation, the dangerous Marko passionately demands Jörg’s participation in the struggle which still continues. All the while, Karin tries to keep the peace. Not only must the fragile Jörg face the insidious persuasiveness of Marko, but is also confronted by the overpowering sexuality of Dorle, Ulrich’s precocious daughter. The often strange balance maintained between interior monologue and exterior conversation, a finely wrought web of meaning through which the relationships in the novel come into existence, in some ways provide the reader with an insight into the interactions between the world of the individual and the world of the political. - ZJ

Colm Tóbín The Empty Family [Viking] Tóbín’s deeply engaging stories range from accounts of sexual encounters, bereavement, and homesickness, to name but a few. Nevertheless, all of the accounts deal with the formation of one’s personal identity and, in some manner, with the complex relationship (and often estrangement) of the individual to his landscape (both foreign and familiar). The attachment not only to one’s homeland, but also to one’s ancestors is also an undeniable current that runs through Tóbín’s stories. There is an unusual combination of specificities in the text that Tóbín manipulates to lend themselves to the depiction of universally felt emotions, creating a sense of huge emotional depth. In “Two Women”, for example, Frances recalls her only love affair, reminded of it by the mannerisms of two porters in the National Gallery, and “the changing light in the Irish sky”. Her recollections are honest and unsentimental, and in this way achieve a delicate poignancy. Tóbín’s voice has a certain occasional austerity in its portrayal of romance and sexual encounters. This austerity adds to the originality and even (rather conversely, it might seem) to the vibrancy of his new body of work. This already well-established writer, it becomes evident, is still able to break the mould and capture new readers. - ZJ

games words // ZOE JELLICOE Sonic the Hedgehog 4 : Episode 1 Sega [Wii Ware, XBOX Live Arcade, PlaystationNetwork] Thankfully abandoning ridiculous recent forays of the Sonic series into medieval times and werewolves (werehogs?) we are picking up where we left off in 1994. The Sonic Team lays the nostalgia on thick – the themes of these levels are reminiscent of the earlier entries, with familiar power-ups and badniks also making a reappearance. The classic 2D sidescrolling action is enhanced by lush graphics, great music and, most importantly, intelligent level design. Of course, Sonic is all about speed. Quick reactions are rewarded with multiple alternate routes and access to bonus levels. Only dearth of innovation holds the game back – some bosses are directly recycled from previous games, which feels a bit cheap. This aside, Sonic 4 is a fantastic game. It’s a perfect introduction to a classic series, but will also prove a real challenge to hardened Sonic veterans. All together now! SAAAY-GAAAH! - JH

Halo Reach Bungie [Xbox360]

(BNFTBT"SU For some time now, an argument has been going back and forth over whether videogames could be considered Art. Kellee Santiago’s (it must be admitted, somewhat lacklustre) presentation on why videogames are Art was famously countered by film critic Roger Ebert, who made the original statement that videogames were not, and never could be, Art. Since then he has admitted that he should not have released such a statement without having been more familiar with videogames. It does make Roger Ebert’s criticisms seem shallow in that they were formed after having only seen video footage of a game. I will not attempt here to put a complete end to the argument. However, I want to make the point that, though what each individual thinks of as Art can be understood in many different ways, and of course everyone enjoys certain kinds of Art more than others, we all have our own vague notion of what Art is, and these notions share some undeniable commonalities. To really address any question with clarity, the first step is, traditionally, to delineate the terms. But here, already, we arrive at a problem, for any boundaries which are drawn as to what is Art will always be arbitrary. It is an essentially contested concept I want to argue that videogames can cause the same emotional responses we seem to attribute to Art. Not only are they

capable of being visually emotive (there are many graphically beautiful games), but the gameplay itself can elicit a profound emotional response. They are stories, interactively told, and have the same emotional highs and lows as other stories. But does the viewer involvement preclude them from being Art? Although you make your own choices in videogames, the point should also be made that your choices aren’t boundless. They are made within certain parameters: game designers do have a vision that they want to express, but allow you to find it in your own way. When boundaries are pushed in classical Art forms like theatre it is often towards interactivity. Avant-garde festivals such as the Hackney Wicked include many interactive installation performance pieces that call for audience participation. None but the staunchest traditionalists would claim these to no longer be Art. Though no videogame is really comparable to great historical works of Art, it’s quite easy to think back to when the film industry and its critics were first arguing for their right to be considered an Art form. As Kellee Santiago pointed out in her presentation, we are guilty of underestimating media. We have an opportunity with videogames, as we did with television and radio, to develop a powerful new Art form. The entrenched critics might not be convinced yet, but that princess may be in another castle.

The prequel to Microsoft’s flagship series, Reach apparently explains the beginning of the war between humans and aliens. Our character is a mostly silent, nameless lump with very little plot input, but our conversational slack is more than picked up by the other members of our posse. Four macho dudes and one sassy chick provide a steady stream of cliches until they are picked off one by one in the course of what passes for the story. The gameplay and visuals in Reach are almost identical to Halo 3. The same weapons, vehicles and enemies make it feel very much like an expansion rather than an independent game, despite a few new additons – the spaceship level is a refreshing change, although too brief. Everything Halo 3 did well Reach does also – same balls-to-the-wall action, fun co-op play and fantastic landscapes, but Reach shares the failings of its predecessor, too. Clunky vehicle sequences, mind-numbing dialouge and comical enemy grunts who waddle away shrieking in fear still spoil the epicness that the creators obviously strive for. Reach is good, it’s not great. But try telling that to a Halo fan... - JH

Harvest Moon Victor/Natsume [SNES] Originally released in 1996, Harvest Moon is without objectives in the normal sense. There are no missions, enemies or explicit challenges. The credits roll after four in-game years whether you’ve played well or not. To get a better ending, you have to tidy your farm, grow crops, keep livestock, and woo the girls in the village to find a wife. Harvest Moon is designed very much with the obsessive in mind: based entirely on routine. The real challenge is time allocation – the days are short and your character only has a limited amount of energy. How much time should you spend brushing your cows and how much reading girls’ diaries? Like other openly-structured games (Farmville is quite obviously based on this) it is extremely absorbing. The lack of goals may not suit some, and the soundtrack may be slightly grating after several hours, but the game will actually keep you there, making those fields NEAT UND TIDY. - ZJ



cinema Africa United Director: Debs Gardner-Paterson Talent: Eriya Ndayambaje, Roger Nsengiyumva Released: 22nd October

R.E.D. (Retired and Extremely Dangerous) Director: Robert Schwentke Talent: Bruce Willis, Mary-Louise Parker, Helen Mirren Released: 22nd October When mainstream genre-cinema attempts to affectionately parody itself, the results are rarely anything less than painful. Red is no exception to this. Setting itself up as a vaguely self-deconstructive action-comedy in which ex-CIA operatives are forced back into action due to improbable circumstances, the film seems to operate on the assumption that slightly unusual casting of high-profile actors is inherently amusing. Perhaps you are tickled by the thought of Helen Mirren shooting an uzi. Really? Off the top of my head, I can think of at least three similar but funnier hypothetical castings-against-type: Tom Cruise driving a really slow car, Kate Hudson as a baker who specialises in tompouces, Kurtwood Smith being extremely proficient at Cavandoli macramé... I probably couldn’t go on. Nor could the amusement I experience at the thought of said castings be sustained beyond half a minute or so. So why they chose to make a feature-length film out of such a flimsy script (I’m assured the comic book upon which it’s based is a good deal better) is beyond me. Red aims to send up generic convention while at the same time providing sincere entertainment, but it fails on both counts. Its knowing irony is dated, its action is spectacular in a boringly familiar way and the now tired realisation that every actor is presumably there only for financial gain does little to provide even a condescending level of amusement for the spectator. As a satirical meta-commentary on the paucity and innate arrogance of established cinematic convention, Red is an utter masterpiece, exemplifying as it does everything that is wrong with postmodern Hollywood, though it’s safe to say that this was the intent of nobody involved at the film’s inception. I bet your dad would like it though. Oisín Murphy

I really want to like Africa United, to say it’s a great film, a tour-de-force road movie for kids, essential viewing and all the rest of it; but it isn’t. Granted, there are some excellent moments in the film, some decent jokes, and the foregrounding of AIDS in mainstream cinema discourse (particularly in a children’s film) is admirable. Ideologically speaking, its brushstrokes are broad and largely condescending, though presumably with the best of intentions at their inception. Commentary relating to African teams at the World Cup took a similarly blinkered, equivocal and overcompensated approach to a postimperialist sociopolitical encomium, and while it might not be hugely harmful for your child to be exposed to the film’s pettifogging, sentimental politics, it provides little perspective or insight that might be in any way beneficial. The perceived cynicism of this year’s World Cup allows for an interesting, though somewhat depressing, contrast to the naivety of the film, for some reason released an entire three months after the tournament ended. - OM

Carlos Director: Olivier Assayas Talent: Edgar Ramirez, Alexander Scheer Released: 22nd October How you can manage to make such a dull film out of the life of one of the most interesting men of the last century is beyond me. Carlos is the story of Carlos the Jackal, the Venezuelan leftist guerilla-terrorist who became a household name in the mid-70s following a raid and hostage situation in the Vienna headquarters of OPEC. Said situation accounts for the most engaging part of the film, which trundles along with a strange degree of casual distantiation and almost wilful visual and diegetic blandness. Carlos’ sexual potency (and full-on penis!) occupies a focal role in the narrative, with politics largely left to the wayside. Watch as a woman goes from discussing feminism to sucking his cock in the space of 3 minutes REAL TIME. In any case, there’s very little to recommend here, unless your only exposure to Carlos the Jackal has been Robert Ludlum’s Bourne series or if you’re a fan of Val Kilmer but wish he was just a little more Hispanic. - OM

Mary and Max

Another Year

Director: Adam Elliot Talent: Toni Collette, Philip Seymour Hoffman, Eric Bana Released: 22nd October

Director: Mike Leigh Talent: Jim Broadbent, Ruth Sheen, Lesley Manville, Oliver Maltman Released: 5th November

After last year’s not-really-for-kids Fantastic Mr. Fox we now get a not-at-all-for-kids stop-motion Australian production from Oscar winning director Adam Elliot. Centering on the peculiarly intense relationship between lonely child Daisy Dinkle and her pen pal (whom she randomly selected from a phonebook), all apparently based on a true story. Her finger landed on a middle-aged, obese, Jewish, Aspie New Yawker named Max, unrecognizably voiced by Philip Seymour Hoffman. It’s Pingu meets Todd Solondz as heavy subjects such as suicide, mental illness, exploitation, alienation, child abuse and alcoholism are dealt with with the sort lightness and quick pace commonplace in animation but now rendered occasionally shocking by what is an aggressive and successful appropriation of a children’s media for an adult audience by writer-director Eliott. Not life-affirming in any conventional Hollywood way, their friendship is unhealthy and destructive in most ways, but the film’s intelligence stands to its credit. With visual wit to spare and an eye stinging ending that Pixar would envy, Mary and Max is another winner from Elliot. - DM

Francois Truffaut once famously posed the question, ‘What is the value of an anti-bourgeois cinema made by the bourgeois for the bourgeois?’, presenting the underlying problem of how inherently unfilmable the middle classes seem to be. Not rich enough to be fun and not poor enough to draw empathy, it’s difficult to make melodramas out of the dramatic equivalent of mild weather. One man making it look consistently easy is Mike Leigh. His latest stands among his very best, with Lesley Manville’s Mary joining the ranks of David Thewlis’ Johnny from Naked or Brenda Blethyn’s Cynthia from Secrets & Lies - characters created in broad strokes, fun to imitate but always logical and plausible. The kitchen sink of this drama belongs to Tom (Jim Broadbent) and Gerri (Ruth Sheen), a happily-married couple whose openness with their friend Mary is rather sweetly explained as basic, solid kindness. Mary’s loneliness is so visceral that she’s a constant potential threat to herself and others - you won’t be able to take your eyes off her wine glass. Uncouth, flirtatious until suddenly childish and grumpy, she’s a dinner party nightmare. Such small moments in Leigh’s hands are given the sort of dramatic weight that you’d think would be only capable in a novel. Amazingly Leigh seems to be getting better. - DM

OM - Oisin Murphy DM - Daniel Martin



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Totally Dublin 74  

A free monthly magazine packed with music, art, film, fashion, culture, listings, reviews and anything that else that piques our interest.

Totally Dublin 74  

A free monthly magazine packed with music, art, film, fashion, culture, listings, reviews and anything that else that piques our interest.