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Where Ye From?

By Growler

Meet Growler, the 82-year-old drum banging, shamanic vulva from the Liberties in Dublin.

Wise as witches with a tongue like a lash and a heart of gold, she will take you on an alchemical theatrical journey.

Using storytelling, song, spoken word and comedy, her mission is to give voice to the voiceless and to transmute the shite out of the female collective trauma.

The performance on November 9th will inaugurate Growler’s Sofa Sessions and feature visiting musician Damien Dempsey and Berlin-based Wallis Bird in a one-night-only event called Songs From the Holywell!

This promises to be a very special night of storytelling, song and conversation between kindred spirits.

“The beauty of Growler is in its roughness, its erratic meandering, its refusal to be one thing or another. It has a sacred chaos of its own, in which Mulrooney thrives.”
The List

Rhythm in Sediment

The very first performance of new work-in-progress by Anna Lublina, followed by a post-performance discussion.

This research seeks to access ancestral knowledge through synchronization: a process of syncing one’s body rhythms with the rhythms of other people, objects or environments. Emerging from archival research on different forms of shared Jewish-Muslim rhythm—Uzbeki Shashmaqam music, prayer, agricultural practices, etc.— we explore tap dance, extended vocal techniques and live mixing to embody specific rhythms and synchronize with the worlds they emerge from.

How do these rhythms from historical moments of Muslim-Jewish conviviality generate different physicalities, states, tensions or intelligences in our bodies? What can these convivial rhythms teach us in a time marked by separation and violence?

Colonizing The Skies

The very first presentation of new work-in-progress by Noémi Ola Berkowitz, followed by a post-performance discussion.

The sky has long been a place of comfort, spirituality, looking upward, and fantasy. But the colonization that marks the rise of empires and nations on land now threatens our atmosphere. The unique combination of technology and ancient stories in the skies above prompted Noémi (who presented new work-in-progress in our 2017 Expo Festival) to gaze upward for this next theatrical project.

SLUT: A Love Story

SLUT: A Love Story is a vibrant manifesto of joy, feminism and sexual exploration. Through the lens of her own life, performer and self-identified slut, Anne Marina Fidler courageously navigates the impacts of heartbreak, sex work and technology on this identity. Employing storytelling, dance and audience participation, Fidler crafts a compelling narrative that is both humorous and sincere.

Drawing from her own rich and charmed sexual history, Fidler invites audiences to participate in a narrative that celebrates the complexities of sex as part of our fully realized selves, while still acknowledging the collective trauma and shame that patriarchy places on sexuality.

In SLUT, Fidler challenges the conventional narrative surrounding casual sex and demands that the patriarchal scripts of hook-up culture be re-written.

Utilizing her background as a cabaret performer, Fidler employs both comedic flair and emotional depth to critically engage with delicate topics. She celebrates the power of sex while refusing to elevate it to sacrosanct divinity, aiming to liberate audiences from the constraints of patriarchal ideology and internalized misogyny.

Where Ye From?

by Growler

Meet Growler, the 82-year-old drum banging, shamanic vulva from the Liberties in Dublin.

Wise as witches with a tongue like a lash and a heart of gold, she will take you on an alchemical theatrical journey.

Using storytelling, song, spoken word and comedy, her mission is to give voice to the voiceless and to transmute the shite out of the female collective trauma.

“The beauty of Growler is in its roughness, its erratic meandering, its refusal to be one thing or another. It has a sacred chaos of its own, in which Mulrooney thrives.”
The List

The Examination

by Brokentalkers

“I’d like the people to know I’m not an animal. Did I cause harm? Yes. Should I be punished? Of course. But do I deserve my human rights? Absolutely I do.”

The Examination is the award-winning production by Brokentalkers exploring mental health and human rights in the prison system, performed by Brokentalkers’ Gary Keegan and stand-up comedian and former prisoner Willie White.

Featuring Brokentalkers’ distinctive blend of biography, socio-political discourse and breathtaking theatricality, The Examination draws on historical research and testimony from current and former prisoners. With powerful imagery and a visceral soundscape, The Examination is an uncompromising and revelatory interrogation of an aspect of society too often ignored.

The Examination is the outcome of a 12-month research period that saw Brokentalkers’ directors Gary Keegan and Feidlim Cannon hold theater workshops and interviews with life sentence prisoners and former prisoners in various settings including Mountjoy Prison and PACE Training and Education Services. They have also drawn on wider historical analysis undertaken by Associate Professor Catherine Cox (UCD) and Professor Hilary Marland.

Best Production – Irish Times Theatre Awards 2020

Best Soundscape (Denis Clohessy) – Irish Times Theatre Awards 2020

Best Production – Dublin Fringe Festival 2019

Best Performer (Willie White) – Dublin Fringe Festival 2019

⭐⭐⭐⭐ “Superbly slippery piece of theatre” – The Stage
⭐⭐⭐⭐ “No easy escapes in Brokentalkers’ sly, provocative play” – The Irish Times
⭐⭐⭐⭐ “Again and again, ‘The Examination’ pulls the rug out from under you” – Fest

Brokentalkers was founded in 2001 by Feidlim Cannon and Gary Keegan after graduating from De Montfort University in Leicester. For over a decade, Brokentalkers have been making formally ambitious work that defies categorization and have built a reputation as one of Ireland’s most innovative and original theater companies.

Their working method is founded on a collaborative process that draws on the skills and experiences of a large and diverse group of contributors from different disciplines and backgrounds. Some are professional artists, performers, designers and writers, while others are people who do not usually work in the theater but who brings an authenticity to the work that is compelling.
They make work that responds to the contemporary world, using elements such as original writing, dance, classic texts, film, interviews, found materials and music to represent that world in performance.

Their recent work includes The Boy Who Never Was (Dublin Theatre Festival 2022), MASTERCLASS (Winner: The Scotsman Fringe First Award 2022, premiered at Project Arts Centre as part of Dublin Fringe Festival 2021), The Examination (premiered at Project Arts Centre 2019), Woman Undone (premiered at Project Arts Centre & Mermaid Arts Centre 2018, followed by a national tour in 2019 & 2020), The Circus Animals’ Desertion (Dublin Theatre Festival 2016), This Beach (Munich Kammerspiele, Dublin Fringe Festival 2016, followed by a national tour in 2017), Have I No Mouth (Dublin Fringe Festival 2012, followed by a national & international tour; winner of the Total Theatre Award, Edinburgh 2013) and The Blue Boy (Grand Prix winner, Kontakt Festival, Torun, Poland, 2014).

Brokentalkers have presented their work worldwide in over twenty countries.

Photos: Luca Truffarelli

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)

Pleasure Incorporated

What if sex workers could get drunk at the office Christmas party?

Had colleagues they could gossip with? Went to performance reviews with their managers? Pleasure Incorporated asks what it would be like if the oldest profession in the world was just a regular office job.

Drawn from Jemima’s experience of escorting in Berlin, this lyrical one-woman play fuses live performance with video art to explore Jemima’s personal motivations for selling sex; what it means for her to do the work, and how that spools out into friendships, relationships and society.

Welcome to Pleasure Incorporated. We’re happy to have you here with us on another fine work day.

In English

No Home

This is a mockumentary performance and a film. A diary and a fable.

Yael is an artist who has immigrated to Berlin. She’s broke, tired of babysitting, and afraid her big dreams won’t be fulfilled. She gets an opportunity for a week’s residency, but the night before it starts a sinister character appears in her nightmare, planting a seed of self-doubt that gets bigger and bigger, making her residency a living hell while she is losing grip on reality.

No Home encapsulates the perpetual sense of liminality experienced by an immigrant in a foreign land. With unwavering hope, she strives to create her haven within the enigmatic backdrop of Berlin. Her daily existence is a relentless battle against the challenges of communication, financial constraints, bureaucracy, and waning motivation.

In this piece, elements of humor, horror and homesickness have been blended to depict a new reality of an immigrant, grappling with the pursuit of her dreams.

In English, German and Hebrew

Best Funeral Ever (My Russian Funeral)

We die alone. We bury together.

This participatory performance that explores the political and theatrical nature of the funeral ritual and deconstructs its settled mechanism. It is a ritual for which it is impossible to be fully prepared, but during this rehearsal any last wish can be fulfilled.

The audience is invited to join the scripted burial ceremony, turn on their common memory of the ritual and bring in their differences of cultures and societies. To rehearse, to
deconstruct, to discuss they will have the conflicted Russian body of the performer whose last wish is to do no more harm and become peaceful compost.

In English

Please note that there are only a very limited number of seats available per performance. There are two separate performances on February 17, at 5pm and at 8pm.

Natasha Borenko is a Siberian-born fluid theater maker and queer feminist migrant artist who sees participatory art as a tool to deconstruct the system and rehearse the change.