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Mustard

Fishamble´s Mustard by Eva O’Connor

When E meets the man of her dreams, a professional cyclist, love hits her in the pubic bone like a train. But when it ends she plummets into a black hole of heartbreak at the speed of a doped up team on the Tour de France.

​A one-woman show about heartbreak, madness and how condiments are the ultimate coping mechanism, by award-winning playwright & performer Eva O’Connor.

WINNER – Scotsman Fringe First Award 2019
WINNER – Lustrum Award, Edinburgh 2019
​NOMINATED – Scottish Mental Health Awards 2019
WINNER – Critic’s Circle Award, Adelaide Fringe Festival 2023

“Part Fleabag, part Marina Abramovic, it straddles the line between theatre and performance art. Eva O’Connor delivers a fiery performance that never wavers in its intensity… Her writing, too, is strong. The script is densely packed with jokes and rich metaphors and she explores the issue of mental health with sensitivity and aplomb.”
★★★★ Irish Times

“So scarring and funny, so laden with jealousy and hate and wickedness…The stagecraft is starkly simple, the set could be a work of conceptual art, but delicious and shocking to watch, if not to eat…What a privilege to see this …if you want to see a bit of real theatre, go see Mustard.”
★★★★ Scotsman

Eva O’Connor is a writer and performer from Ogonnelloe, County Clare. She studied English and German at Edinburgh University before completing an MA in theater ensemble from Rose Bruford drama school in London. Her plays include My Best Friend Drowned in a Swimming Pool, Kiss Me and You Will See How Important I Am, My Name is Saoirse, Overshadowed, The Friday Night Effect (co-written with Hildegard Ryan), Maz and Bricks and Mustard.
Eva’s runs her own company Sunday’s Child, with Hildegard Ryan. Eva has won various awards for her work including Best Emerging Artist Award, 2012 (Edinburgh Fringe), First Fortnight Award, 2014 (Dublin Fringe), Argus Angel Award, 2015 (Brighton Fringe), Fishamble Award for Best New Writing, 2015, Best Theatre Award, 2017 (Adelaide Fringe), Scotsman Fringe First Award in 2019 (Edinburgh Fringe) and Lustrum Award 2019 (Edinburgh Fringe).
Her play Overshadowed was recently adapted for television by BBC Three and Rollem productions, directed by Hildegard Ryan. It won Best Drama at the Mind Media Award 2019.
Eva has also written for radio. Her play My Name is Saoirse was adapted for radio by RTÉ Radio 1 and Eva’s short story The Midnight Sandwich was recently aired on BBC radio 4.
Photo: Jassy Earl

¡SILENCIO, POR FAVOR!

The idea of absolute silence is both gratifying and threatening.

Silence can be wellness or torture, a coveted resource or an absolute nightmare. But above all, it is an impossibility: “Try as we may to make a silence, we cannot”, John Cage observed after visiting an anechoic chamber and encountering not silence but the buzzing of his nervous system and the throbbing of his blood.

¡SILENCIO, POR FAVOR! initiates a search for perfect silence, knowing full well that it does not exist. Therefore, when the ensemble searches for silence, it is actually searching for sounds: sounds of everyday life, sounds of coincidence, unintended sounds and inaudible sounds that buzz through the space in the form of imperceptible frequencies. Using selected works by John Cage and Cathy van Eck and with the help of the antennae of sound artist Marta Zapparoli, Björnsson | Marx and Opera Lab create a dense mesh of music, sounds and texts, opening up a space for reflection and experience in which the ambivalence of silence is treated just as much as the contingency of our acoustic perceptions.

Supported by

 

 

 

 

 

 

 

Media partner

 

Happy Days

Oh this is going to be another happy day!” – Winnie

 

Under a mute sky of blazing light; Winnie, sunk to her waist in a mound of sand, and her husband Willie, mostly immobile in a cave behind her, attempt to cope with their doomed situation.

Winnie, “a bird with oil on her feathers“, as Beckett once described her, is woken by a bell “piercingly sharp like a knife“ that ignites her daily survival routine and quest to engage Willie with every aspect of it. Winnie‘s insatiable need for human connection and Willie’s unwillingness or inability to answer it, contribute to their “nec cum te and nec sine te” / “neither with you nor without you” bond, full of tragicomic moments, culminating in an ambiguous surprise once Winnie is neck-deep in the sand.

Happy Days first premiered in 1961 in New York and has since then unquestionably become a classic of the modern stage. In 2022, The Independent named it one of the 40 best plays of all time. More than six decades later, Beckett’s darkly comic vision of the apocalypse and the banality that comes after remains as timely as the day he wrote it.

Walter Asmus collaborated with Samuel Beckett on numerous theater and television productions from 1974 until the author’s death in 1989. He has directed all of Samuel Beckett’s plays internationally. His 1991 production of Waiting for Godot at Dublin’s Gate Theatre was revived multiple times, toured internationally until as late as 2008 and was accepted by critics and academics alike as “definitive”.

The role of Winnie is played by Berlin-based Irish actor Mary Kelly. Mary has performed extensively in Ireland, including at the Gate Theatre, and in Germany most regularly at English Theatre Berlin | International Performing Arts Center.

The role of Willie is played by Tomas Spencer, who began his career at ETB | IPAC in the early 2000s and has gone on to appear in numerous films and television programs, including The Last Station, Nymphomaniac and Passport To Freedom.

Photos:  ETB_Maureen Gleason (“Winnie”) / Rosie Condon (Mary Kelly) / Tim Dobrovolny (Tomas Spencer)

Æffective Choreography

How does your body feel today?

In this time of velocity and violence, choreographer and performer André Uerba explores intimacy as a practice of being together, along with seven performers and a musician. This work plays with the boundaries between sharing and withdrawing, movement and stillness, vulnerability and exposure.

The performers structure their encounter through a slow pace, propelling their bodies to attune, sink and merge together, refining their present moment. The desire to make hidden things visible is unfolded by their intimate gestures. Collectively they turn their gaze to inner landscapes where slowness and touch become a main practice.

In English

Please note that this production contains nudity.

Innervoice-Dot-RU

This participatory documentary performance is about the boundaries of personality in terms of dictatorship and repressive state politics.

It is based on the statements of citizens who have remained in Russia, who are against the regime and the war and who continue their resistance from the inside. The audience plays an active role in the performance: using the instructions, they affect the dramaturgy of action to a certain extent. Together with the performer, they create the space for co-existing and togetherness in a collective reflection of how it is to live inside a dictatorship with aggressive internal and external policies.

Girevik

In Girevik, a man embarks on a physical exchange with iron weights.

Responding to the objects’ proposals requires him to push his body to the edge of its physical abilities. The artist travels through a territory defined by obstacles, constantly at the risk of reaching a dead end. Confronted with his vulnerability, he labors to keep the cast-iron bodies moving. Precisely, gently, sincerely, he rearranges the heavy piles again and again. His fragile play interlaces stillness with collapse and order with chaos. The result is a slowly unfolding composition, full of noise, sweat, and tangible tension built through the artist’s physical and emotional effort.

Girevik muscles in on the domain of the traditional “strongman “archetype, and wrestles it to submission. Deconstructed, strength is unburdened of stereotypes. This work explores what is strong, and what strong is, in our nature, and explores the subtleties, revealing emotional, intellectual, and psychological dimensions.

The piece challenges the historically hyper-masculine aura around the kettlebell and seeks an alternative poetics of labor.

Without language

Retina Maneuver

“She′s living in a world and it’s on fire
Filled with catastrophe, but she knows she can fly away”

Retina Maneuver is a solo lecture-performance that theater maker Ping-Hsiang Wang is currently developing. The performance originates from his unexplainable obsession with Alicia Keys’s pop song “Girl On Fire.” Frustration over not remembering where he was when the song was released in 2012 drives him to delve into his digital archives. Ultimately, Wang stumbles upon a photo accidentally uploaded to his Facebook page and finds himself in a military setting, passionately engaged in bayonet drills and shouting the command “kill.”

When “Girl on Fire” is no longer just a chart-topper but a marching tune for soldiers going into battle, he wonders, will these fragile memories be annihilated by the fire of war?

 

In English

TRICKS FOR GOLD (T4$)

Tricks For Gold is a fable set in late capitalism in which the protagonist, a magician, discovers that she can become the object of her desires – money – and tries to transform herself into it.

The performance studies the concept of trick and its ability to manipulate our experience of space and time through layers of virtuosity, exposure, contortion, concealment, self-assurance and vulnerability. The wish is to unravel the empathic potential of what is typically seen as an act of “service” and highlight the melancholia of tricks as not simply a mode of deceiving the audience – but also of the survival of the performer.

With very little spoken language (English)

Cynthia

Cynthia was a model, an influencer, a socialite, a celebrity and a household name in the USA in 1933.

But unlike other celebrities of her day, she got dismantled into pieces at the end of her day and stowed away in a body bag. Cynthia was a mannequin. Her creator, Lester Gaba, a window display designer in New York City, became her manager, puppeteer, and chaperone, taking her to dinner clubs, theater premieres and fashion shows, and performing for her and answering for her to her adoring fans.

Let this duet between Berlin drag king Alexander Cameltoe as Lester Gaba and a puppet version of himself as Cynthia, take you down the slippery slope from entertaining spectacle into the uncanny valley.

The play will be then performed at House of Yes in New York City in April.

In English