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đŒ Nayd - Kaleidoscope đ¶

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Gare St Lazare - Waiting for Godot
Over the past ten years, the Irish theatre company Gare St Lazare Players Ireland has represented Ireland at the very highest level of artistic achievement. The company team of Conor Lovett, Judy Hegarty Lovett and associate producer Maura OâKeeffe, have cemented their international reputation among the foremost interpreters of the work of Samuel Beckett and have produced 17 Beckett titles. The commitment to excellence in their field and the in-depth exploration they have made of the work of Samuel Beckett, married to the formative background of visual art training and physical theatre training, has garnered praise for Gare St Lazare Players by the most respected critics in theatre.
Who â Joint artistic directors Conor Lovett (actor) and Judy Hegarty Lovett (director) and associate producer Maura OâKeeffe.
What â The repertory includes over 17 Beckett titles, a solo production of Moby Dick and the solo play Title and Deed, written for the company by Will Eno.
Where â Over 60 different venues in Ireland and over 200 tours, taking in 80 cities in 25 countries around the world. This year alone they have performed in Berlin, Brighton, Edinburgh, Cherbourg, Geneva, New York, Strasbourg, California and of course, Ireland.
Reaction â Consistently superlative reviews in all the Irish nationals and in the international press. Gare St Lazareâs work has been described by critics as ârivetingâ (IrishTimes), âelegantâ (The New Yorker), âsupremely funnyâ (New York Times), âexquisiteâ (TheStage), âastonishingâ (Guardian), âartlessâ (Irish Theatre Magazine), âunassumingâ (TheScotsman), âincredibly movingâ (Sunday Independent) and âside-splittingâ (Sunday Times).
Awards â Moby Dick: nomination for Best Actor; First Love and The End: nomination for Judgesâ Special Prize at Irish Times Theatre Awards; Lucille Lortel off-Broadway nomination for Outstanding Solo Show for Title and Deed, as well as awards in USA, China and Germany.
Gare St Lazare have been funded by the Arts Council of Ireland, by Cork City and County Arts Offices. Their international touring has been supported by Culture Ireland and they have shown considerable creativity in securing support from many Irish and international institutions including RTĂ, Irish Museum of Modern Art, Signature Theatre Company in New York, Emerson College, Boston, the Royal National Theatre of Great Britain, Cork 2005, The 2006 Beckett Centenary Festival, Dublin Theatre Festival, Dublin Fringe Festival and Kilkenny Arts Festival, among many others.
Photo ©Ros Kavanagh

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I've to Mind Her - Cast Biogs
CAST
Dublin Youth Theatre - I've to Mind Her
Iâve to Mind Her
Inspired by young carers and recent cases of criminal neglect in Ireland, I've to Mind Her is a new work examining the responsibilities we have to ourselves and to our families.
Written by award winning playwright Shaun Dunne (Death of the Tradesmen, I am a Homebird) and directed by Gary Keegan (The Blue Boy, Have I No Mouth?), this new collaboration features an ensemble cast of emerging performers from Dublin Youth Theatre.
Itâs a story about a parent and a child; their hearts, their genetic hardware and what would happen if one or both stopped caring.
chelfitsch, Japan - Ground and Floor
Mr. OkadaâŠis celebrated as a chronicler of Japanâs âGeneration Yâ The New York Times
Ground and Floor is a moving metaphor for contemporary Japan from Toshiki Okada, one of the leading voices of his generation.
Deeply affected by the huge earthquake that struck the country in 2011, the economic crisis and the catastrophe at Fukushima, Okada uses art as a means to confront his apprehension about life, politics, and Japanese society. Inspired by the ancient Japanese art of Noh and featuring original music by Tokyo musicians Sangatsu, this lyrical production from acclaimed Japanese collective chelfitsch sketches out a female character as she attempts to confront the silence around her. Taking up the relationship between the living and the dead so keenly felt in in the wake of disaster, Ground and Floor questions the possibility of thinking differently in a Japanese society paralysed by fear, distrust, and conformism.