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Domhnall Gleeson: I live in Dublin because it s home

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It ll do for now but streaming can t replicate live theatre

  In the beginning, everything was live. We sat around the fire, banged bits of bone together and howled tunefully at the unforgiving moon. Then some bright spark picked up a charred stick and used it to draw the first rudimentary picture on a cave wall. Fast forward 40 millennia, 2001: a Space Odyssey-style, and we continue to make a distinction between the thrilling evanescence of live performance and the profoundly different experience of recorded art, whether that record has been made in burnt wood or on 4K video. Covid has caused us to think again about the differing values we apply to the live experience and the recorded one. Much of the focus during the pandemic has been on how we miss being in crowds at live events, but there’s also the emotional charge of watching or hearing something in the actual moment, even if you’re not physically present. Call it immediacy or authenticity, unpredictability or uniqueness, but it’s part of the reason people pay more to

It ll do for now but streaming can t replicate the live experience

  In the beginning, everything was live. We sat around the fire, banged bits of bone together and howled tunefully at the unforgiving moon. Then some bright spark picked up a charred stick and used it to draw the first rudimentary picture on a cave wall. Fast forward 40 millennia, 2001: a Space Odyssey-style, and we continue to make a distinction between the thrilling evanescence of live performance and the profoundly different experience of recorded art, whether that record has been made in burnt wood or on 4K video. Covid has caused us to think again about the differing values we apply to the live experience and the recorded one. Much of the focus during the pandemic has been on how we miss being in crowds at live events, but there’s also the emotional charge of watching or hearing something in the actual moment, even if you’re not physically present. Call it immediacy or authenticity, unpredictability or uniqueness, but it’s part of the reason people pay more to

Boland: Journey of a Poet – One-note production of a near-perfect biographical play

On demand from the Mick Lally Theatre, Galway ★★☆☆☆ Who is the best person to tell the important story of a famous chronicler? The discovery of Druid’s streamed play Boland: Journey of a Poet is that sometimes the most qualified is the recorder themselves. That the late Eavan Boland created a vision of broken silence and alternative myths, positioning women’s lives as meaningful subjects in art, makes her poems count as radical acts of documentation. It’s fitting that she would leave blueprints behind for a major telling of her own story. Through script editor Colm Tóibín’s researched assemblage of Boland’s nonfiction essays and poems, all filled with riveting introspection, this seems as near-perfect a biographical play as we could get. If representation was important for the poet, the possibility that recognising something within an artwork could ignite a chain reaction, then director Garry Hynes’s production begins

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