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Dublin playwright Phillip McMahon on Once Before I Go, his new show confronting the legacy of Ireland s Aids crisis
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The country has yet to come to terms with its Aids crisis
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Gate theatre auditorium transformed into Creative Studio Space
Updated / Thursday, 18 Feb 2021
12:35
The Gate theatre have announced their 2021 plans, with the entire Gate auditorium, including the stage area, to be transformed into a new Creative Studio space for work to be made by a formidable array of contemporary theatre talent.
Artists and Companies scheduled to work in and with the new Gate Creative Studio over the coming months include THISISPOPBABY, Theatre Lovett, ANU Productions, Michael Keegan-Dolan & Teac Damsa, CoisCéim, Camille O’Sullivan, Mikel Murfi, Dead Centre, Gate Bursary Artist Marc Atkinson and Gate Artists-in-residence Loosysmokes.
Camille O Sullivan
In addition, a new series of producing masterclasses will take place online, along with the launch of
‘Create a future that’s accessible’
There are one billion disabled people in the world. These disabilities are visible and invisible. They ebb and flow between physical, learning, sensory, disease, addiction, mental illness and chronic illness. Disabled people exist in our homes, in our workplaces, in our friend groups and in our communities. Yet, disability is a topic we shy away from and rarely discuss.
Maybe it’s because we don’t know what to say, and the fear of saying the wrong thing makes us so uncomfortable, it’s easier to say nothing at all.
Is “disabled” a bad word? Is “differently abled” more politically correct? Is “special needs” kinder language?
For lovers of the stage, the sight has been dismal. The past year brought unprecedented hardship to the world of theatre as Covid-19 forced playhouses to close and cancel one production after another, with dire consequences for all involved.
Itâs no surprise, however, that theatremakers have bounced back with wonderful ingenuity, creating socially-distanced productions and livestreaming events, even as financial strictures only increased. The Dublin Theatre Festival, for example, went to great lengths to reinvent itself when the second wave of the pandemic hit and managed to salvage part of its line-up in inventive ways. They have since set up a Futures programme that enables artists to rethink the precarious âperforming arts ecologyâ, with 13 productions due in the spring of 2021.
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