The First Child

dublintheatrefestival

Landmark Productions in association with Irish National Opera, Ireland

It all began with the child.

Following the sensational success of their first two operas, The Last Hotel and The Second Violinist, Donnacha Dennehy and Enda Walsh join forces once again on the final instalment in their explosive trilogy of suburban horror.

The production brings together a world-class creative team with a cast of five singers, an actor, a dancer, a small children’s choir and Crash Ensemble, to imagine a terrifying story of lost innocence—a baby on a beach—and the sea.

THE FIRST CHILD PAGE 1

Landmark Productions

in association with Irish National Opera

THE

FIRST

CHILD

a new opera by Donnacha Dennehy and Enda Walsh


PAGE 2

THE FIRST CHILD


THE FIRST CHILD PAGE 3

Landmark Productions

in association with Irish National Opera

THE

FIRST

CHILD

a new opera by Donnacha Dennehy and Enda Walsh

presented in partnership with Crash Ensemble

OPERA IN ONE ACT

World premiere Saturday 2 October 2021

O’Reilly Theatre Dublin

Dublin Theatre Festival

ENDA WALSH | PHOTO: SARAH WEAL

Sung in English with English surtitles

Running Time: 90 minutes without interval

Performances O’Reilly Theatre Dublin

Saturday 2, Monday 4, Wednesday 6, Friday 8 and Saturday 9 October 2021

Saturday 9 October is live-streamed

and available on demand until Saturday 23 October


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THE FIRST CHILD


PROGRAMME NOTE

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THE FIRST CHILD

The First Child is the last opera in my trilogy with Enda Walsh. It feels

to me to be the most intense of the three, powered along by a kind of

tidal energy. And yet, within that, I’m forever seeking the melody in

these broken characters. In some way, the opera is about the impact

that circular forces can have on our life and on nature. Though it

has a dystopian looping structure to it ultimately, there is also a kind

of catharsis unleashed by the power of the music. I should let you

know that three of the players within Crash Ensemble also double up

as microtonal pianists, playing notes between the equal tempered

scale. Quite often these relate to the overtone series, but at other

times they present strange doppelgängers of their equal-tempered

equivalents. The bulk of the opera was written during the pandemic,

and one can almost feel the music yearning and bursting to break

the banks set up around it. Writing this opera was probably the most

intense creative experience of my life so far.

Donnacha Dennehy

September 2021


PAGE 6

THE FIRST CHILD


PROGRAMME NOTE

PAGE 7

‘WHEN ALL IS REAL,

AND ALL ARE GHOSTS’

THE LAST HOTEL | PHOTO: PAT REDMOND

We didn’t set out to make a trilogy. In our first opera – The Last Hotel

– myself and Donnacha Dennehy were interested in the ordinary

being faced by something dark and unfathomable. The clash of

those two things. Of a character losing a sense of themselves –

becoming untethered and committing a terrible act. In The Last

Hotel, an assisted suicide. In the second opera – The Second Violinist

– a double murder. The trilogy just happened. I would think of them

as salacious Sunday World stories – that on the surface were cheap

and nasty – that morphed into something entirely different through

the expression of music and opera. Narratives that are much larger

than the characters themselves have always interested me. Very

ordinary people whose lives are altered by a story they started and a

story now which can’t be stopped.

The First Child has a greater structural complexity than the previous

two. It reveals itself incrementally and cuts between the normal and

the mythic. It’s passed through the strange minds of the central

characters. It’s shaped by obsession and unstoppable hate. It

moves sharply from darkness to comedy – and it tries, I hope, to

understand what it is that makes us do these terrible things.

THE SECOND VIOLINST | PHOTO: PAT REDMOND

After such a long time away from making work – I feel an

extraordinary privilege to have been able to make this opera with

Donnacha and Ryan Mc Adams and Crash and Emma Martin – and

with such wonderful singers and creative collaborators for INO and

Landmark. Though the work is undeniably dark – the process and

the expression of it – has been gloriously light.

Enda Walsh

September 2021


PAGE 8

CREATIVES

CREATORS

Composer

Librettist and Director

Donnacha Dennehy

Enda Walsh

CAST IN ORDER OF APPEARANCE

Man

Eric Jurenas

Karen

Sarah Shine

Simon

Emmett O’Hanlon

Girl

Caia Leseure

Older Woman

Joan Sheehy

Alva

Niamh O’Sullivan

Gary

Dean Power

CREATIVE TEAM

Conductor

Choreographer

Set Designer

Lighting Designer

Video Designer

Costume Designer

Sound Designer

Assistant Conductor

Associate Director

Associate Costume Designer

Associate Sound Designer

Répétiteur

Studio Conductor

CHILDREN’S CHORUS

Voiceover of Young Alva

Ryan McAdams

Emma Martin

Jamie Vartan

Adam Silverman

Jack Phelan

Joan O’Clery

David Sheppard

Elaine Kelly

Eoghan Carrick

Sinéad Lawlor

Sinéad Diskin

Richard McGrath

Molly de Búrca

Tom Egan

Clare Griffin

Joya Hobson

Priya Hobson

Catherine Leahy

Harry McEvilly

JJ Orange

Molly Verdier

Freya Feeney


CREATIVES

PAGE 9

CRASH ENSEMBLE

Susan Doyle

Leonie Bluett

Deirdre O’Leary

Cliona Warren

Hannah Miller

Barry O’Halpin

Alex Petcu

Eliza McCarthy

Dermot Dunne

Diamanda Dramm

Larissa O’Grady

Lisa Dowdall

Kate Ellis

Malachy Robinson

Flute, Alto Flute, Piccolo

Clarinet

Clarinet, Bass Clarinet

Bassoon, Contrabassoon

French Horn

Electric Guitar, Microtonal Piano

Percussion

Piano, Microtonal Piano, Celesta

Accordion, Microtonal Piano

Violin

Violin

Viola

Cello

Double Bass

DONNACHA DENNEHY | PHOTO: BRITT OLSEN-ECKER


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THE FIRST CHILD

Production Manager

Stage Manager

Assistant Stage Manager

Chief Electrician

Sound Mixer

Lighting Programmer

Lighting Operator

Sound Crew

Sound Assistant

LX Team

Wigs, Hair, Make-up Supervisor

Wigs, Hair, Make-up Assistant

Chaperones

Costumer

Costume Assistants

Dresser

Dye & Breakdown Artist

Set Construction

Scenic Artist

Lighting Provider

Sound Provider

Surtitle Operator

Eamonn Fox

Kate Watkins

Sophie Flynn

Colm Robinson

Jonathan Green

Kevin Smith

Gavin Kennedy

Alan Whelan, Cian Murphy

Kate Crook

Leo Cooney

Carole Dunne

Tee Elliot

Emily Bradley, Jordan Brown,

Hannah Kate Sheridan, Nina Hynes

Tara Mulvihill

Lou Dunne

Alannah O’Leary

Molly Brown

Theatre Production Services

Sandra Butler

Cue One

Stage Sound Services

Maeve Sheil

Photographer

Rehearsal Video

Promotional Video

Cover Image

Graphic Design

Ste Murray

Gansee Films

Sayonara Bittencourt

Jack Phelan

Gareth Jones


THANK YOU

PAGE 11

THANK YOU

We are grateful to the following for their help with this production:

Willie White and Stephen McManus and all at DTF; Siân Cunningham, Kate Ellis

and all at Crash Ensemble; Clare Barrett; Paul Fahy, Jacinta Dwyer and all at

Galway International Arts Festival; Dylan Farrell; Colm and Deirdre Flynn; Conor

Hanratty; Eleanor Methven; Gillian Oman and ITW; all at the O’Reilly Theatre.

This production is funded by an Opera Projects and Production Award from The

Arts Council / An Chomhairle Ealaíon.


PAGE 12

CREATORS

DONNACHA DENNEHY

Composer

Donnacha Dennehy’s music is marked by a sonic

and rhythmic intensity and a kind of volatile tonality

that travels in and out of an overtone-based focus.

His music has featured in festivals and venues such

as the Edinburgh International Festival; Carnegie

Hall, New York; Muziekgebouw, Amsterdam;

Barbican, London; and BAM, New York, among

many others. In addition to two previous operas

with Enda Walsh, The Last Hotel and The Second

Violinist (Landmark Productions and Irish National

Opera), recent large-scale commissions include The Hunger, a

docu-cantata for Alarm Will Sound (presented by BAM, New York

and Opera Theatre St. Louis), Broken Unison for Sō Percussion

(co-commissioned by Carnegie Hall and Cork Opera House);

Overcasting (commissioned by the LA Phil); Tessellatum for Nadia

Sirota, Liam Byrne and microtonal viol consort; and pieces for Dawn

Upshaw, Third Coast Percussion, Kronos Quartet, and the Doric

Quartet. He continues to maintain a close artistic connection with

the group he founded, Crash Ensemble, and they feature in The First

Child and in his opera, The Second Violinist, which won the 2017

FEDORA-Generali Prize for Opera. Portrait albums of his music have

been released by Nonesuch, New Amsterdam, Cantaloupe, NMC

and Bedroom Community. His new violin concerto for Augustin

Hadelich will be premiered in the Netherlands in October 2021,

and he was awarded a Guggenheim Fellowship earlier this year.

Dennehy is also a professor at Princeton University and his music is

published by G. Schirmer, New York.


CREATORS

PAGE 13

ENDA WALSH

Writer and Director

Enda Walsh is a Tony and multi award-winning

Irish playwright. His work has been translated

into over 20 languages and has been performed

internationally since 1998. His recent plays

include Medicine [2021], produced by Landmark

Productions and Galway International Arts Festival;

The Same [2017], produced by Corcadorca;

Lazarus [2016] with David Bowie; Arlington [2016],

Ballyturk [2014] and Misterman [2012], produced by

Landmark Productions and Galway International

Arts Festival; and the operas The First Child [2021], The Second

Violinist [2017] and The Last Hotel [2015] produced by Landmark

Productions and Irish National Opera. His other plays include Once

[2011]; The New Electric Ballroom [2009], Penelope [2010] and The

Walworth Farce [2006] with Druid Theatre Company; Chatroom

[2005] with the National Theatre; The Small Things [2005] with

Paines Plough; Bedbound [2000] with Dublin Theatre Festival; and

Disco Pigs [1996] with Corcadorca. Most recently, he wrote the

book for the musical adaptation of the 2016 film Sing Street by John

Carney which was due to open on Broadway in spring 2020.

For the past ten years he has been supported by, and shown work

at, St. Ann’s Warehouse in New York. He has made an ongoing

series of immersive theatre installations, Rooms, with Galway

International Arts Festival’s Artistic Director, Paul Fahy – Room 303,

A Girl’s Bedroom, Kitchen, Bathroom, Office 33A, Waiting Room,

Changing Room and this year’s Bedsit.

His film work includes Disco Pigs for Temple Films and

Renaissance; Hunger for Blast and FILM4; and The Last Hotel

which was made into a film for Sky Arts, produced by Brink Films,

Landmark Productions and Wide Open Opera. In 2014, he received

an honorary doctorate from NUI Galway.


PAGE 14

THE FIRST CHILD

ERIC JURENAS SARAH SHINE EMMETT O’HANLON

ERIC JURENAS

Man

Eric Jurenas is a graduate of Juilliard

School and gave his debut at the

Wiener Staatsoper, performing

Natasha in Eötvös’ Tri Sestri. Also

at Wiener Staatsoper, he created

the part of Guardian Angel in O.

Neuwirth’s Orlando, chosen by

Opernwelt as ‘Best World-Premiere

of the Year’. Engagements include

the world premiere of Rinaldo with

Ensemble Matheus for Theater an der

Wien, Opéra Royal de Versailles and

Philharmonie Moscow, Natasha and

Arsamene in Xerxes at Oper Frankfurt,

Arbace and Fulvio in Catone in Utica

at the Glimmerglass Festival, Fidi

Wagner in Dorman’s world premiere of

Wahnfried at Staatstheater Karlsruhe,

Refugee in Dove’s Flight with Opera

Lafayette, the title role in Orlando at

the Kammeroper Wien, Narciso in

Agrippina at the Royal Opera House,

the Münchner Opernfestspiele and the

Komische Oper Berlin, the title role of

Ayres’s Peter Pan, and Herald in Medea

by A. Reimann at Komische Oper Berlin.

Concert highlights include David in

Handel’s Saul at the International

Handel Festival Göttingen (CD

nominated for the Grammy Awards),

the recital Time stands still at Innsbruck

Early Music Festival, the world

premiere of a trio by Aribert Reimann

at the Pierre Boulez Saal, Berlin (with

Daniel Barenboim as pianist), his

recital British Heroes at the Château

de Versailles Spectacles, and Farrini’s

mono-opera La Dolce Morte in the

METLiveArts series with International

Contemporary Ensemble.

Eric sings regularly with Boston

Baroque, Colorado Symphony

Orchestra and at the Baldwin Wallace

Bach Festival, and has worked with


THE FIRST CHILD PAGE 15

Ivor Bolton, Anthony Bramall, Laurence

Cummings, Ruben Dubrovsky, Maxim

Emelyanychev, Barrie Kosky, Yuval

Sharon, Jean-Christophe Spinosi and

Keith Warner.

SARAH SHINE

Karen

Irish soprano Sarah Shine’s recent

performances include Linda Buckley’s

Glaoch in INO’s 20 Shots of Opera,

and Nannetta in Verdi’s Falstaff

for Wexford Festival Opera, where

she also created the role of Fran in

Andrew Synnott’s What Happened to

Lucrece? In 2019 she created the role

of Angelika in Marius Felix Lange’s

children’s opera Der Gesang der

Zauberinsel at the Salzburg Festival,

also performed in Masterclass with

Helmut Deutsch and appeared with

the Mozarteumorchester Salzburg. In

2018-19 she was an artist in residence

at Opéra national de Paris, where

she participated in concerts of the

Academy at the Amphitheatre Bastille

and Palais Garnier and performed

the role of Adele in Johann Strauss’s

Die Fledermaus presented at the

MC93 before a tour of several French

cities. In 2017-18 she made her debut

in Paris as Leocadia in Phillippe

Boesmans’s Reigen conducted by

Jean Deroyer, and performed in

concert with the Philharmonic Radio

Orchestra, Bucharest, for the Beirut

Chants Festival. In 2018 she was

awarded the Siemens Opera Award of

€10,000. Sarah graduated with a BA

in Music Performance and a Recital

Artist Diploma from the Royal Irish

Academy of Music where she studied

with Veronica Dunne. Shortly after,

she was chosen as one of 40 finalists

to compete at the Neue Stimmen

International Singing Competition

2015 in Gütersloh, Germany. She has

received bursaries from Siemens,

the Arts Council/An Chomhairle

Ealaíon, Limerick City Council and the

Christopher Lynch Operatic Bursary.

EMMETT O’HANLON

Simon

Highlights of Irish-American baritone

Emmett O’Hanlon’s career include his

role debuts as the title role in Mozart’s

Don Giovanni, Figaro in Rossini’s

Il Barbiere di Siviglia and Kaiser in

Ullmann’s Der Kaiser von Atlantic with

Deutsche Oper am Rhein, Malatesta

in Donizetti’s Don Pasquale with both

the Blackwater Valley Festival and

the Berkshire Opera Festival, Silvio in

Leoncavallo’s Pagliacci with Opera San

Jose, and Gaston in Disney’s Beauty

and the Beast with the Paramount

Theatre. Concert work includes his

debut with the New World Symphony

for Unanswered Questions: A Leonard

Bernstein Journey, conducted by Edwin

Outwater. Recital appearances include

being presented by Opera Birmingham

at Brock Recital Hall at Samford

University, and with Sun Valley Opera.

Emmett was part of the prestigious


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THE FIRST CHILD

CAIA LESEURE JOHN SHEEHY NIAMH O’SULLIVAN

Ryan Opera Center at Lyric Opera of

Chicago, and holds a Master of Music

degree from the Juilliard School of

Music and a Bachelor of Music degree

from University of Cincinnati College-

Conservatory of Music.

CAIA LESEURE

Dancer

Caia Leseure was born in Berlin in 2008

to an Irish mother and French father

so she has grown up speaking English,

German and French. She spent a few

years doing ballet classes and for the

last few years, attends Berlin’s Sasha

Waltz dance school. She has performed

in their shows in the Berliner Festspiele

and Radial V. She sings on two of Nina

Hynes’ albums, ZAP! and Dancing

Suns. She has a younger brother and

spends her time between her home

in Berlin and her father’s home in

Brussels.

JOAN SHEEHY

Older Woman

Joan Sheehy is from Granagh, Co.

Limerick and has performed with all

the leading Irish theatre companies

and toured extensively, both nationally

and internationally. Her most recent

appearances have been in The Mai for

Decadent Theatre Company, Wringer in

Bewley’s Cafe Theatre, Bailegangaire

for Livin’Dred Theatre Company,

Sacrifice at Easter for Corcadorca, Big

Maggie for Druid, John Gabriel Borkman

for the Abbey Theatre and Woman

and Scarecrow for Blood in the Alley

Theatre Company. She appeared in the

Abbey Theatre’s online initiatives, Dear

Ireland and Home. Joan has directed

some acclaimed productions, most

recently, In the Middle of the Fields

in Kilmallock, Co. Limerick , #Maura

Laverty-This Was Your Life with Viking

Theatre, Whitby in the Bram Stoker

Festival, The Match Box in Galway


THE FIRST CHILD PAGE 17

International Arts Festival, The Colleen

Bawn Trials for Limerick City of Culture,

Anything But Love in Belltable Arts

Centre and Buck Jones and the Body

Snatchers in Georgian House, Limerick

and Dublin Theatre Festival. Recent

film and T.V appearances include As

Luck Would Have It, Fanacht, Harry

Wildand End of Sentence.

NIAMH O’SULLIVAN

Alva

26-year-old Irish mezzo-soprano

Niamh O’Sullivan, praised for her

“bewitchingly beautiful, dark vibrant

voice” (Süddeutsche Zeitung), studied

at the Royal Irish Academy of Music

in Dublin under Veronica Dunne.

She followed her studies by joining

the Opera Studio at the Bayerische

Staatsoper, Munich from 2016 to 2018.

Operatic engagements in Munich

include Hänsel in Humperdinck’s

Hänsel und Gretel, Kate Pinkerton

Madama Butterfly, the Secretary in

Menotti’s The Consul and Flora in

Verdi’s La Traviata and a concert

performance of Der Rosenkavalier by

Bayerische Staatsoper at Carnegie

Hall conducted by Kirill Petrenko.

Appearances for Irish National Opera

include Tisbe La Cenerentola [2019],

Third Maid Elektra [2021] and in

Cousser’s The Applause of Mount

Parnassus at the Wigmore Hall with

Ensemble Marsyas under the musical

direction of Peter Whelan. In concert,

Niamh has performed Elgar’s Sea

Pictures at the Prinzregententheater

as part of the Munich Festspiele in

July 2019 and has sang both Mozart’s

Requiem and Handel’s Messiah with

the Müncher Hofkantorei. She also

performed the main role of ‘Cain’ in

Scarlatti’s Oratorio Il Primo Omicidio

with The Jakobsplatz Orchester

conducted by Daniel Grossmann.

In the 2021-22 season, Niamh will

make her Zurich Opera debut as

Wellgunde Das Rheingold and for

INO will appear as Asteria Bajazet

at both the Linbury Theatre, Royal

Opera House, and across Ireland and

as Mercédès Carmen. She will also

make her Wexford Festival Opera

debut as Paulina Ein Wintermarchen

before making her debut with the RTÉ

National Symphony Orchestra as Ghiva

in Wallace’s Lurline.

DEAN POWER

Gary

Irish tenor Dean Power is currently

a member of the ensemble at the

Bayerische Staatsoper in Munich,

where he has been resident since

graduating from the company’s

Opera Studio at the end of the 2011-

12 season. After ten years as an

ensemble member, 20-21 will be his

final season as he begins to expand

upon his already growing career as

an international solo guest artist.

Dean is from Clarecastle, Ireland. He

studied in Dublin with Mary Brennan

and répétiteur Mairead Hurley at the


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THE FIRST CHILD

DEAN POWER RYAN McADAMS EMMA MARTIN

Royal Irish Academy of Music and D.I.T.

Conservatory of Music and Drama.

During his time at the Bayerische

Staatsoper his roles have included

Steuermann Der fliegende Holländer, in

a new production of Abrahamson’s The

Snow Queen, Edmondo Manon Lescaut,

Rustighello Lucrezia Borgia,Graf

Elemer Arabella, Scaramuccio Ariadne

auf Naxos, and Graf Albert Die tote

Stadt plus many more. Last season

he made two notable role debuts as

Rodrigo Otello and Spoletta Tosca as

part of the Munich Opera Festival.

Notable company debuts this season,

include the Salzburg Festival for

Puccini’s Il Trittico, and Opéra de

Lille as Snout A Midsummer Night’s

Dream. On the concert stage he will

join Prague Symphony Orchestra for a

performance of Ryba Stabat Mater.

RYAN McADAMS

Conductor

Equally at home in the world of

opera, symphonic repertoire and

contemporary music, American

conductor Ryan McAdams has

established a presence on both sides

of the Atlantic. Crash Ensemble named

Ryan their Principal Conductor in

2021. Their relationship began with

the premiere of Donnacha Dennehy’s

The Second Violinist in 2017 in Galway,

before taking the production to Dublin

and the Barbican in London. In the

2021/22 season he will return to

the I Pomeriggi Musicale in Milan,

Filarmonica del Teatro Comunale di

Bologna, the Orchestra della Toscana

in Florence, and the Orchestra

Sinfonica Nazionale della RAI. Ryan

debuts with the Orchestre National

d’Île de France at the Philharmonie in

Paris and returns to the US for a new

production of Tosca in Kansas City.


THE FIRST CHILD PAGE 19

In 22/23, he will finally make his first

appearance at the Zürich Opera in a

revival of Faust following a pandemic

postponement of his 2020 debut.

EMMA MARTIN

Choreographer

Emma Martin is a dancer and

choreographer, establishing her

company United Fall in 2018. Previous

works include I AM IRELAND (RTÉ

Culture Night 2020), Birdboy (2019),

Orfeo ed Euridice (2018), Girl Song

(2017), Dancehall (2015), Tundra (2014),

Dogs (2012), Listowel Syndrome (2010).

Her work has been commissioned by

Dublin Dance Festival, Irish Arts Center

and created work in partnership with

Dublin Theatre Festival, Irish National

Opera, Noorderzon Performing Arts

Festival and Centre de Développement

Chorégraphique, Toulou se. She is an

associate artist at Visual Centre for

Contemporary Art. She previously

collaborated with Enda Walsh on

Arlington (2016).

JAMIE VARTAN

Set Designer

Jamie Vartan has worked extensively

as a designer in theatre and opera.

He studied Fine Art at Brighton

Polytechnic and Theatre Design at

Central St Martins.

Designs for opera include The First

Child, The Second Violinist and The

Last Hotel [Landmark Productions

and INO]; Bluebeard’s Castle, Hansel

and Gretel, and Il Barbiere di Siviglia

[INO]; Ariadne auf Naxos, The Queen of

Spades [La Scala]; La traviata [Malmö];

Eugene Onegin [Opéra du Rhin]; The

Life and Death of Alexander Litvinenko

[Grange Park Opera]; Carmen [Lisbon];

Ariadne auf Naxos [Salzburg]; Dead

Man Walking [Oldenburg]; A Village

Romeo and Juliet [Wexford; Best Set

Design, Irish Times Awards]; Manon

Lescaut [Bilbao and Valencia]; Falstaff

[Oman and Parma]; L’isola disabitata

[ROH]; productions in Cagliari,

Marseille, Turin, Florence, and Scottish

Opera. Film design includes The Last

Hotel [Sky Arts].

Designs for theatre include Medicine

[Landmark Productions and Galway

International Arts Festival]; Happy Days

[Olympia, Landmark Productions];

Woyzeck in Winter, Arlington, Ballyturk

and Misterman [Best Set Design, Irish

Times Theatre Awards – Landmark

Productions and GIAF]; Grief is the

Thing with Feathers [Complicite and

Wayward Productions in association

with Landmark Productions and

GIAF]; Bondagers [Edinburgh

Lyceum]; Ravens: Spassky vs Fischer

[Hampstead Theatre]; Knives in Hens

[Perth]; Have Your Circumstances

Changed? [Artangel]; The Lost Child

Trilogy [David Glass Ensemble], with

residencies in Vietnam, Indonesia,

China, Philippines and Colombia.


PAGE 20

THE FIRST CHILD

JAMIE VARTAN ADAM SILVERMAN JACK PHELAN

ADAM SILVERMAN

Lighting Designer

Adam Silverman works in opera,

theatre and dance. With Enda Walsh,

Adam has lit Medicine, The Second

Violinist, The Last Hotel, Grief is

the Thing with Feathers, Arlington,

Ballyturk and, Misterman. Recent

opera productions include La Calisto,

I mazzindiere for Teatro alla Scala;

La clemenza di Tito, Lohengrin

for the Royal Opera; and Adriana

Lecouvreur, Un ballo in maschera for

the Metropolitan Opera. For Michael

Keegan-Dolan Adam has lit Mám,

Swan Lake – Loch na hEala, Rian,

James Son of James, The Rite of Spring,

Petrouchka, The Bull and Giselle.

Additional credits include designs

on Broadway, the West End, Bregenz

Festival, English National Opera,

Toneelgroep Amsterdam, Théâtre du

Châtelet, Royal Ballet, Deutsche Oper

Berlin, Opéra Bastille, Teatro Real,

Bavarian State Opera, Festival d’Aixen-Provence

and PJ Harvey’s The

Hope Six Demolition Project. Upcoming

productions include The Ring Cycle for

the Metropolitan Opera and English

National Opera.

JACK PHELAN

Video Designer

Jack Phelan is a video artist and

technologist who specialises in

integrating new visual ideas and

technology into live performance.

Other theatrical credits include: To

Be A Machine (Dead Centre, Dublin

Theatre Festival and Burgtheater,

Vienna), L.O.L.A (feature film –

premiere 2021), Touch (RTÉ, 2020),

Gulliver’s Travels (Unicorn Theatre,

London), Incantata (GIAF and The Irish

Rep, New York), Ravens: Spassky vs

Fischer (Hampstead Theatre, London),

The Second Violinist (Landmark

Productions, INO Barbican Theatre,


THE FIRST CHILD PAGE 21

London), Bluebeard’s Castle (Irish

National Opera), Arlington by Enda

Walsh (Landmark Productions/GIAF),

World to Come (Cryptic Theatre,

Glasgow); Man of Valour (The Corn

Exchange ), Alice in Funderland

(THISISPOPBABY/Abbey Theatre);

Dubliners (The Corn Exchange/Dublin

Theatre Festival); The Lulu House and

MacBeth (Siren Productions); Love and

Money (Hatch Theatre), and Woman

& Scarecrow (Siren/Abbey). Jack was

also a core member of the creative/

tech team behind Playhouse, a largescale

interactive lighting installation for

public expression. Produced for Dublin

Theatre Festival in 2009, Playhouse

turned Dublin’s Liberty Hall into an 11

storey, full-colour video display that

displayed animations submitted by

the public to music synchronised with

Dublin City FM. Awards include: Knight

of Illumination 2019, for Projection

Design for The Second Violinist.

JOAN O’CLERY

Costume Designer

Joan O’Clery is a costume designer

working in both stage and screen. Her

screen work includes the feature films

King of the Travellers, Swansong, (Both

IFTA nominated for Best Costume

Design), Out Of Innocence. The

Delinquent Season, Rose Plays Julie ,

Dating Amber. I, Dolores, The Trial Of

The Century and The Voting Age. Joan

costumed the RTÉ TV series Finding

Joy Seasons 1 and 2 and the current TV

drama KIN. She is three times winner of

the Irish Times Theatre Award, and her

designs for opera include The Second

Violinist, La Traviata (ENO) and Madama

Butterfly (INO). She has originated the

costumes for several world premieres

by major Irish writers including Seamus

Heaney, Brian Friel, Tom Murphy,

Marina Carr and Frank McGuinness.

Her costumes are regularly seen at

the Abbey Theatre, the Gate Theatre

and on many stages around Ireland.

Highlights of her stage costuming

include Macbeth at the Globe Theatre

and at the RSC, An Enemy of the People

for the Gate Theatre, DruidMurphy

Trilogy of Tom Murphy plays for

Druid Theatre Company, She Stoops

to Conquer at the Abbey Theatre,

Medicine, and Woyzeck in Winter for

Landmark Productions and Galway

International Arts Festival, and The

Approach for Landmark Productions.

DAVID SHEPPARD

Sound Designer

David Sheppard is a sound designer

who has collaborated on a diverse

range of projects across the world. He

works with many leading orchestras

and ensembles as well as rock and pop

musicians, visual artists, dance and

film creatives. He collaborates closely

with composers on helping them

realise their ideas but he is also known

as a sound installation artist and

electronics performer in his own right.

Last year saw design work with Music


PAGE 22

THE FIRST CHILD

JOAN O’CLERY DAVID SHEPPARD ELAINE KELLY

Theatre Wales and Royal Opera House

before the pandemic turned his focus

on immersive online mixes for YouTube

and experiments in a new performance

format utilising d&b Audiotechnika’s

Soundscape. INO incorporates this in

its 2021 tour of Brian Irvine and Netia

Jones’ Least Like The Other, Searching

for Rosemary Kennedy. David often

works across art-forms including Mira

Calix’s Inside There Falls multimedia

work for Sydney Festival, Christian

Marclay at the White Cube, London,

and collaborations with artist Matthew

Ritchie and The National’s Bryce and

Aaron Dessner. He has consulted for

Anthony Gormley and devised and

led learning projects including work

with Björk on her Biophilia School. His

design for the Opera: Passion, Power

and Politics exhibition at the V&A

in London was considered a ‘gamechanger,’

with immersive and interactive

sound throughout the installation. He

often collaborates on new technologies

and performance methods including

the creation of an electro-magnetic

harp and paper-speakers

ELAINE KELLY

Assistant Conductor

Elaine Kelly is a multi-award- winning

choral and orchestral conductor based

in Ireland. She was the ABL Aviation

Opera Studio conductor for the 2019-20

season, during which she was assistant

conductor and chorus director for

INO productions. She is currently the

conductor of the University of Limerick

Orchestra, and musical director to the

highly-successful choir, Cantate. She

was musical director of the Dublin

Symphony Orchestra from 2017-19. In

2014 she won first prize in the inaugural

ESB Feis Ceoil Orchestral Conducting

Competition. In concert, she has

conducted the RTÉ Concert Orchestra,

Cork Concert Orchestra, CSM


THE FIRST CHILD PAGE 23

Symphony Orchestra, Cork Fleischmann

Orchestra and the Fleischmann Choir.

She was also assistant conductor for

Opera Collective Ireland’s production

of Handel’s Agrippina with the Irish

Chamber Orchestra, in association

with Northern Ireland Opera. She is

a graduate of the CIT Cork School

of Music (CSM). She completed her

BMus Degree in 2011 and continued her

studies in CSM, achieving a First Class

Honours Masters Degree in Conducting.

EOGHAN CARRICK

Associate Director

Eoghan Carrick is a theatre and

opera maker working in Ireland and

internationally. He works on new

and established texts with a focus

on innovative interpretations and

interdisciplinary collaboration. He

is an associate artist with Once Off

Productions. Previous associate and

assisting credits for opera include

Donnacha Dennehy’s The Hunger

(Tom Creed/Abbey Theatre), Bartók’s

Bluebeard’s Castle (Enda Walsh/Irish

National Opera), Donnacha Dennehy

and Enda Walsh’s The Second Violinist

(Enda Walsh/Landmark Productions

and INO); Handel’s Acis and Galatea,

Wolf-Ferrari’s Susanna’s Secret and

Poulenc’s The Human Voice (Tom

Creed/Opera Theatre Company); and

Puccini’s Suor Angelica and Mozart’s

The Magic Flute (Tom Creed/Royal Irish

Academy of Music). He was dramaturg

on Opéra national de Paris Académie/

Opera Collective Ireland’s production

of Britten’s Owen Wingrave directed

by Tom Creed. Recent directing

credits include: Rescue Annie (Dublin

Fringe Festival, 2021), 14 Voices from

the Bloodied Field (Abbey Theatre,

2020), Bodies of Water (Dublin Fringe

Festival, 2019; DFF Best Design

Nomination), Midsummer (Project Arts

Centre, 2019), Theatre for One (Cork

Midsummer Festival, 2019; Irish Times

Theatre Nomination Best Ensemble);

INFINITY (Dublin Fringe Festival,

2018; First Fortnight Award, DFF Best

Design Award, DFF Best Performer

Nomination), and Nora (Dublin Theatre

Festival, 2017).

SINÉAD DISKIN

Associate Sound Designer

Sinéad Diskin is a sound designer

and composer based in Dublin,

Ireland. She is a graduate of the

SEEDS programme with Rough Magic

Theatre Company, Dublin, a recipient

of the Next Generation Artists Award

2019 from the Arts Council of Ireland

and a commission award from ANU

Productions and the Arts Council of

Ireland 2020. Recent theatre credits

include Minseach [Sibéal Davitt, Dublin

Fringe Festival]; Aftertaste [National

Youth Theatre]; Boland: Journey of

a Poet [Druid]; Medicine [associate

sound designer], Happy Days, Blood

in the Dirt [Landmark Productions];

Eclipsed, Serious Money, Love and

Information, Pornography [The Lir


PAGE 24

THE FIRST CHILD

EOGHAN CARRICK SINÉAD DISKIN RICHARD MCGRATH

Academy]; Pale Sister, The Snapper,

The Glass Menagerie [Gate Theatre,

Dublin]; Faultline, The Anvil, Torch

[ANU Productions]; Incantata [Galway

International Arts Festival and The Irish

Rep, New York; Gate Theatre, Dublin

Galway International Arts Festival and

The Irish Rep, New York; Gate Theatre,

Dublin]; Ask Too Much of Me [Abbey

Theatre]; The Phlebotomist [Hampstead

Theatre, London]; Mr. Burns: A Post

Electric Play [Rough Magic SEEDS

Showcase]; and Rapids [Shaun Dunne

and Talking Shop Ensemble].

Film credits include Suited [Battersea

Arts Centre]; Canaries [ANU

Productions]; Torch [ANU Productions].

RICHARD MCGRATH

Répétiteur

Richard McGrath studied at NUI,

Maynooth, the Royal Irish Academy

of Music and the Guildhall School

of Music and Drama, London. He

was a trainee répétiteur at English

National Opera and since then he has

worked with companies including

Irish National Opera, Northern Ireland

Opera, Wide Open Opera, Opera

Theatre Company and Lyric Opera

Productions. Previous productions for

INO include Alice’s Adventures Under

Ground [2021], The Magic Flute [2019],

Bluebeard’s Castle [2018], The Second

Violinist [2018/19]. Other engagements

include Fidelio (Lyric Opera), The

Barber of Seville (Lyric Opera, WOO

and ENO), La Traviata (ENO and

Lyric Opera), Madama Butterfly (Lyric

Opera), Carmen (Lyric Opera), La

Bohème (OTC, ENO and Lyric Opera),

The Last Hotel (WOO), Rigoletto (OTC),

L’elisir d’amore (OTC and NI Opera) and

Nixon in China (WOO). He is currently

a répétiteur in the vocal department at

the TU Dublin Conservatory of Music

and Drama, formerly DIT and is a

coach for the INO studio programme.


THE FIRST CHILD PAGE 25


PAGE 26

THE FIRST CHILD


CRASH ENSEMBLE

PAGE 27

CRASH ENSEMBLE

“Crash Ensemble, an Irish new-music collective with international

cachet and considerable chops.” The Washington Post

PHOTO: ROS KAVANAGH

Crash Ensemble is Ireland’s leading

new music ensemble; a group of

world-class musicians who play the

most adventurous, ground-breaking

music of today.

Founded in 1997 by composer

Donnacha Dennehy, some of the most

distinctive living composers have

written for the group, including Terry

Riley, David Lang, Michael Gordon,

Louis Andriessen, Arnold Dreyblatt,

Kevin Volans, Glenn Branca, Nico

Muhly and Gerald Barry.

Many well-known artists from diverse

musical backgrounds have performed

with the ensemble; Gavin Friday, Dawn

Upshaw, Lisa Hannigan, Íarla Ó Lionáird

(The Gloaming), Bryce Dessner (The

National), Richard Reed Parry (Arcade

Fire), Sam Amidon and Beth Orton.

Crash have recordings on NMC,

Cantaloupe, Nonesuch and the

Bedroom Community labels and have

their own label, Crash Records.

As well as performing throughout

Ireland, Crash regularly perform

internationally, with appearances in

the last few years at the Edinburgh

International Festival, The Royal

Opera House (London), The Barbican

(London), Carnegie Hall (NYC) The

John F. Kennedy Center for the

Performing Arts (Washington DC),

Virginia Tech (Virginia), GAIDA Festival

(Lithuania) and residencies at The

Huddersfield Contemporary Music

festival (UK), Princeton University (NJ)

and Musica Nova Helsinki.

Crash Ensemble are adventurous,

innovative and ambitious.

Crash Ensemble are supported by

The Arts Council of Ireland, Dublin City

Council and Culture Ireland

Contact: Siân Cunningham, CEO

E: sian@crashensemble.com

M:+353 87 8538194

Crash Ensemble,

National Concert Hall, Earlsfort

Terrace, Dublin 2, Ireland. D02N527.

www.crashensemble.com


PAGE 28

THE FIRST CHILD


LANDMARK PRODUCTIONS

PAGE 29

LANDMARK

PRODUCTIONS

SIOBHÁN MCSWEENEY IN HAPPY DAYS | PHOTO: PAT REDMOND DOMHNALL GLEESON IN MEDICINE | PHOTO: JESS SHURTE / EDINBURGH INTERNATIONAL FESTIVAL

Landmark Productions is one of

Ireland’s leading theatre producers.

It produces wide–ranging work in

Ireland, and shares that work with

international audiences.

Led by Anne Clarke since the

company’s foundation in 2003,

Landmark’s productions have received

multiple awards and have been seen in

leading theatres in London, New York

and beyond. It produces a wide range

of ambitious work – plays, operas and

musicals – and co–produces regularly

with a number of partners, including,

most significantly, Galway International

Arts Festival and Irish National Opera.

Its 21 world premieres to date include

new plays by major Irish writers such as

Enda Walsh, Mark O’Rowe and Deirdre

Kinahan, featuring a roll-call of Ireland’s

finest actors, directors and designers.

Producer

Assistant Producer

Digital Producer

Marketing

Administrator

Numerous awards include the Judges’

Special Award at The Irish Times Irish

Theatre Awards, in recognition of

‘sustained excellence in programming

and for developing imaginative

partnerships to bring quality theatre to

the Irish and international stage’; and a

Special Tribute Award for Anne Clarke,

for her work as ‘a producer of worldclass

theatre in the independent sector

in Ireland’.

January 2021 saw the launch of

Landmark Live, a new online streaming

platform which enables the company

to bring the thrill of live theatre to

audiences around the world.

Landmark is supported by the Arts

Council of Ireland. Its international

touring is supported by Culture Ireland.

www.landmarkproductions.ie

Anne Clarke

Jack Farrell

Hugh Farrell

Sinead McPhillips

Catherine Finn


PAGE 30

IRISH NATIONAL OPERA

IRISH NATIONAL OPERA

Irish National Opera is Ireland’s newest and most enterprising opera company.

It champions Irish creativity in its casting, its choice of creative teams and in its

commitment to the presentation of new operas. The company performs largescale

productions of works from the great operatic canon in Dublin, Cork and

Wexford and takes touring production to venues of all sizes throughout Ireland.

To date INO has performed in 26 venues in Ireland as well as presented work in

London and Amsterdam.

Irish National Opera responded creatively to the challenges posed by a global

pandemic. The company produced a multitude of online concerts and events,

notably it adapted Mozart’s The Abduction from the Seraglio into an eight-part

miniseries. The company also commissioned and produced 20 Shots of Opera, 20

new short operas for film, a project that garnered enthusiastic reviews from the

international press. INO has produced a number of longer opera films, amongst

them The Lighthouse, was screened in outdoor settings, including at lighthouses,

and Gerald Barry’s Alice’s Adventures Under Ground which will be streamed

jointly by INO and the Royal Opera House. Most recently the company presented

a spectacular production of Strauss’ Elektra in the outdoor setting of the Castle

Yard in Kilkenny.

www.irishnationalopera.ie

James Bingham

Sorcha Carroll

Aoife Daly

Diego Fasciati

Sarah Halpin

Cate Kelliher

Audrey Keogan

Ruth Kielty

Anne Kyle

Patricia Malpas

Muireann Ní Dhubhghaill

Gavin O’Sullivan

Fergus Sheil

Paula Tierney

Studio & Outreach Producer

Marketing Manager

Development Manager

Executive Director

Digital Communications Manager

Business & Finance Manager

Development Assistant

Marketing Assistant

Stage Manager

Project Administrator

Artistic Administrator

Head of Production

Artistic Director

Company Stage Manager


IRISH NATIONAL OPERA

PAGE 31

ARTISTIC

DIRECTOR’S CIRCLE

Henry Cox & Michael D. Kunkel

INO GUARDIANS

Anonymous (1)

Catherine & William Earley

Ian & Jean Flitcroft

Howard Gatiss

Genesis

Timothy King & Mary Canning

Gaby Smyth & Company

INO PATRONS

Anonymous (2)

Gianni & Michael Alen-Buckley

Mareta & Conor Doyle

Silvia & Jay Krehbiel

Karlin Lillington & Chris Horn

Rory & Mary O’Donnell

INO CHAMPIONS

Jennifer Caldwell

Noel Doyle & Brigid McManus

Florrie Draper

Anne Fogarty

Maire & Maurice Foley

Roy & Aisling Foster

Gerard Howlin

M Hely Hutchinson

Stella Litchfield

Stephen Loughman

Tony & Joan Manning

Jim McKiernan

Sara Moorhead

Joseph O’Dea

Dr Patricia O’Hara

Geraldine O’Sullivan

James & Marie Pike

Dermot & Sue Scott

Matthew Patrick Smyth

INO MEMBERS

INO ADVOCATES

Anonymous (1)

Maureen de Forge

Eric & Christina Haywood

Julian & Aoife Hubbard

John & Michéle Keogan

Catherine Kullmann

Lyndon MacCann

Kathleen MacMahon

R John McBratney

Joe & Mary Murphy

Ann Nolan & Paul Burns

Helen Nolan

FX & Pat O’Brien

James & Sylvia O’Connor

Paul & Veronica O’Hara

Peadar O’Mórdha

Frances Ruane

INO ASSOCIATES

Anonymous (6)

Lynn Anderson

Desmond Barry

Alastair Boles

Deirdre Collier

Una Corr & Elaine Noonan

Veronica Donoghue

Noel Drumgoole

Michael Duggan

Hugh & Mary Geoghegan

Emma Golden

Mary Holohan

Nuala Johnson

Paul Kennan & Louise Wilson

Michael Lloyd

Patricia McCullagh

Petria McDonnell

Dara McMahon

& Garrett Fennell

Katherine Meenan

Jean Moorhead

Jane Moynihan

John R Redmill

Catherine Santoro

Charlotte & Dennis Stevenson

J & B Sheehy

Judy Woodworth

INO COMPANIONS

Anonymous (3)

Aimee Banks

Karen Banks

Ann Barrett

Liam Clifford

Sarah Daniel

Matthew Dillon

Jack Doherty

Dr Beatrice Doran

Anne Drumm

Keena Duffy

Devidyal Givens

Matthew Harrison

B. Howard

Mr Trevor Hubbard

Kieron Lawlor

Bernadette Madden

Cróine Magan

Miriam McNally & Pat Dolan

Andrew McCroskery

Joseph Musgrave

Siobhan O’Beirne

Viola O’Connor

Prof Desmond O’Neill

Líosa O’Sullivan & Mandy

Fogarty

Marion Palmer

Lucy Pratt

Hilary Pyle

Philip Regan

Prof Sarah Rogers

Vivienne Sayers

Linda Scales

Olivia Sheehy

Liam Shorten

Jim Smith

Mary Spollen

Vivian Tannam

Philip Tilling

TU Dublin Operatic Society

Breda Whelan

Niall Williams


PAGE 32

DUBLIN THEATRE FESTIVAL

DUBLIN

THEATRE FESTIVAL

Dublin Theatre Festival brings worldclass

theatre to Dublin, supports artists

in creating outstanding work and

provides a platform to showcase the

best of Irish theatre to the world.

At the heart of the festival is the city

of Dublin – its people and its stories –

and a commitment to contributing to

the vibrant social and cultural life of

our capital. Our mission is to present

a programme of exceptional theatrical

experiences that will appeal to the

diverse communities and visitors that

make up our city.

We have a rich history, with much to

celebrate, but we are most excited

about is what is yet to come. In the

future, we want to see more people

participating in culture and more

artists creating bold new work that

challenges and inspires.

Dublin Theatre Festival runs from

30 September – 17 October 2021

with a live programme of Irish and

international works that artists have

been waiting for so long to share with

you. The festival features 21 world

premieres from leading Irish theatre

artists, alongside exciting international

work, in a programme that asks

questions about our relationship with

the city and the environment.

Dublin Theatre Festival is principally

funded by the Arts Council and

funded by Dublin City Council and

Fáilte Ireland. Dublin Theatre Festival

is supported by RTÉ Supporting The

Arts, The Irish Times, Creative Ireland,

Trinity City Hotel, Blackwater Distillery

and Be SpectACTive! Co-funded by

the Creative Europe Programme of the

European Union.

www.dublintheatrefestival.ie


DUBLIN THEATRE FESTIVAL

PAGE 33

Artistic Director and Chief Executive

Director of Programme and Production

General Manager

Head of Marketing and Development

Development Manager

Audience Development

and Sales Manager

Festival Administrator

Programme Assistant

Production Manager

Event Safety Manager

Box Office Assistant Manager

Marketing Assistant

Office Assistant

Box Office Administrators

Box Office Specialist

Public Relations

Willie White

Stephen McManus

Eve Lalor

Derval Mellett

Fiona Garvan

Sharon White

Mary Kilduff

Justin Murphy

David “Spud” Murphy

Tony Killeen

Lauren Colhoun

Kate Brady

Annachiara Vispi

Alice Quinn Banville

Matthew Tallon

Vanessa Byrne

O’Doherty Communications


PAGE 34

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