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  • irishtimes.com - Posted: January 15, 2011 @ 9:26 am

    The Irish Times Theatre Awards Shortlist December 2010

    Laurence Mackin

    Here is the shortlist for The Irish Times Theatre Awards 2010. The judging panel saw more than 170 performances in what was, despite the doom and gloom, a particularly strong year for Irish theatre.

    On this year’s panel are: Jack Gilligan, former arts officer with Dublin City Council; Christine Madden, journalist and dramaturge; and artist Bernadette Madden.

    You can read Sara Keating’s interview with the judging panel in today’s newspaper and leave your comments below. And before you start wondering why some key plays appear to have been left out, please note that the Gate Theatre has again chosen to be excluded from these awards – much to the dismay of the judging panel.

    The awards will be presented on February 27th. You can read Sara Keating’s interview with the judging panel here. and And the nominees are ….

    BEST ACTOR

    Louis Lovett – as B and Brian in B for Baby at the Abbey Theatre, written by Carmel Winters and directed by Mikel Murfi
    Malcolm Adams – as Tim Hartigan in Slattery’s Sago Saga, written by Arthur Riordan, directed by Jo Mangan for Performance Corporation
    Marty Rea – as Hamlet in Hamlet, written by William Shakespeare and directed by Alan Stanford for Second Age Theatre Company
    Karl Shiels – as Quinn in Penelope, written by Enda Walsh and directed by Mikel Murfi for Druid Theatre Company

    BEST ACTRESS

    Olwen Fouéré – as the woman in Sodome, My Love, written by Laurent Gaudé, translated by Olwen Fouéré and directed by Lynne Parker for Rough Magic Theatre Company
    Hilary O’Shaughnessy – as the tour guide in Berlin Love Tour, written by Lynda Radley and directed by Tom Creed for Playgroup
    Eileen Walsh – as Medea in Medea, written by Euripedes in a new version by Robin Robertson and directed by Selina Cartmel for Siren Productions
    Aoife Duffin – as Winnie Butler in Christ Deliver Us!, written by Thomas Kilroy and directed by Wayne Jordan for the Abbey Theatre

    BEST SUPPORTING ACTOR

    Laurence Kinlan – Mossy Lannigan in Christ Deliver Us!, written by Thomas Kilroy and directed by Wayne Jordan for the Abbey Theatre
    Joe Hanley – as Fluther Good in The Plough and the Stars, written by Sean O’Casey and directed by Wayne Jordan for the Abbey Theatre
    Ronan Leahy – as Tutor/Messenger in Medea, written by Euripedes in a new version by Robin Robertson and directed by Selina Cartmel for Siren Productions
    Conor MacNeill – as Lyokha in Plasticine, written by Vassily Sigarev and directed by Pat Kiernan for Corcadorca Theatre Company

    BEST SUPPORTING ACTRESS

    Andrea Irvine – as Lady Macduff in Macbeth, written by William Shakespeare and directed by Jimmy Fay for the Abbey Theatre
    Eleanor Methven – as Miss Prism in The Importance of Being Earnest, written by Oscar Wilde and directed by Lynne Parker for Rough Magic Theatre Company
    Karen Ardiff – as Mrs Cregan and Sheelagh Mann in The Colleen Bawn, written by Dion Boucicault and directed by Jimmy Fay for Bedrock Productions, Civic Theatre and Project Arts Centre
    Brid Brennan – as Madge in Philadelphia, Here I Come!, written by Brian Friel and directed by Dominic Dromgoole for Woodpecker Productions

    BEST DIRECTOR

    Selina CartmellMedea, written by Euripedes in a new version by Robin Robertson, produced by Siren Productions
    Jo ManganSlattery’s Sago Saga, written by Arthur Riordan, produced by Performance Corporation
    Wayne JordanChrist Deliver Us!, written by Thomas Kilroy, produced by the Abbey Theatre
    Rachel O’RiordanOver the Bridge, written by Sam Thompson and adapted by Martin Lynch, produced by Green Shoot Productions

    BEST SET

    Aedín Cosgrove The Rehearsal, Playing the Dane, directed by Gavin Quinn, produced by Pan Pan Theatre
    John ComiskeySodome My Love, written by Laurent Gaudé, translated by Olwen Fouéré and directed by Lynne Parker for Rough Magic Theatre Company
    Tom PyeJohn Gabriel Borkman, written by Henrik Ibsen in a new version by Frank McGuinness, directed by James Macdonald

    BEST COSTUMES

    Bláithín SheerinPhaedra, written by Hilary Fannin and directed by Lynne Parker for Rough Magic Theatre Company
    Joan BerginJohn Gabriel Borkman, written by Henrik Ibsen in a new version by Frank McGuinness, directed by James Macdonald
    Miriam Duffy The Birthday of the Infanta, directed and adapted from a story by Oscar Wilde by Bairbre Ní Chaoimh for Bewley’s Café Theatre

    BEST LIGHTING

    Paul KeoganPlasticine, written by Vassily Sigarev and directed by Pat Kiernan for Corcadorca Theatre Company
    Sinéad WallaceHappy Days, written by Samuel Beckett and directed by Annie Ryan for Corn Exchange
    Sinéad McKennaMedea, written by Euripedes in a new version by Robin Robertson and directed by Selina Cartmel for Siren Productions

    BEST SOUND

    Dennis ClohessySodome My Love, written by Laurent Gaudé, translated by Olwen Fouéré and directed by Lynne Parker for Rough Magic Theatre Company
    Ellen CranitchPhaedra, written by Hilary Fannin and directed by Lynne Parker for Rough Magic Theatre Company
    Philip StewartThe Early Bird, written by Leo Butler and directed by Donnacadh O’Briain for Natural Shocks

    BEST PRODUCTION

    The Rehearsal, Playing the Dane, directed by Gavin Quin for Pan Pan Theatre
    Medea, written by Euripedes in a new version by Robin Robertson and directed by Selina Cartmel for Siren Productions
    World’s End Lane, directed by Louise Lowe for Anu Productions
    Phaedra, written by Hilary Fannin and directed by Lynne Parker for Rough Magic Theatre Company

    BEST NEW PLAY

    What’s Left of the Flag by Jimmy Murphy – directed by Charlie Bonner for Theatre Upstairs @ the Plough
    Slattery’s Sago Saga by Arthur Riordan – directed by Jo Mangan for Performance Corporation
    National Anthem by Colin Bateman – directed by Rachel O’Riordan for Ransom Theatre Company
    B for Baby by Carmel Winters – directed by Mikel Murfi for the Abbey Theatre

    BEST OPERA

    Roméo et Juliette by Charles Gounod, directed by Annilese Miskimmon for Opera Ireland
    The Diary of Anne Frank by Grigory Frid, co-directed by Annilese Miskimmon and Ingrid Craigie for Opera Theatre Company
    Virginia by Saverio Mercadante, directed by Kevin Newbury for Wexford Festival Opera
    Postcards from Dumbworld by Brian Irvine, directed by John McIlduff for Dumbworld/Brian Irvine Ensemble

    JUDGES’ SPECIAL AWARD

    Project Brand New
    For their long-term dedication to supporting and providing a platform for the gestation of innovative new work.

    Theatre Upstairs
    To Karl Shiels, Paul Walker and Andy Cummins for their tenacity and commitment to bringing new Irish plays to a wider audience.

    Carysfort Press
    For their wide-ranging documentation of Irish theatre over the last 10 years, creating awareness of Irish theatre practice both at home and abroad.

    Louise Lowe/Anu Productions
    For continuing to present challenging theatre in unusual locations that illuminates darker, often ignored parts of society and makes her audience question what theatre can be.

    • Sean O Racey. says:

      Joe Hanley should be in the Best Actor category, the role of Fluther Goode is not a supporting one. Andt The Gate; build a bridge and get over it. It’s selfish and unfair to actors, directors etc, to withdraw them from consideration.

    • Pavel Nedved says:

      3 women for best director and not a Hynes or Parker in sight. Amazing.

    • Laurence Mackin says:

      Sean – Hopefully the Gate will change their opinions. It is a real shame and unfair on all concerned.

      Pavel – Agreed. Great to see an awful lot of young talent coming through as well, although I had hoped TheatreClub’s Heroin would have snuck in there somewhere.

      Also, I have updated the post with a link to Sara Keating’s interview with the judging panel.

    • Marc Mac Lochlainn says:

      It might be nice if Theatre for young audiences got considered worthy of a nomination some day.

    • Lingk James says:

      I wonder what the percentage of the nominees is for work that wasn’t funded? 10%? 15%? One conclusion you could draw from this is that the Arts Council is to be commended for identifiying potentially excellent work and backing it. Anothere conclusion would be that you have to work in the funded sector in theatre to have much of a chance of a nomination.

    • Karl Wallace says:

      A constant request, is it possible to have award categories that match the performance industry’s vision and scope, ie, work for children, best festival, dance, circus, live art, street performance, performance art.


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