Theatre: Othello, Mill Productions

School Shows: 10am
Evening Performances Wednesday and Thursday 8th,9th. 15th,16th,22nd,23rd


Following on from the success of Macbeth, Mill Productions are delighted to announce our forthcoming production of Shakespeare’s Othello directed by Geoff O’Keeffe.

This timeless tragedy is an astonishing tale of fierce passions and murderous ambition – a thrilling examination of the power of love and the destructiveness of suspicion. When Othello, the highly regarded general, secretly marries Desdemona, jealousies around their pairing and Othello’s rise to prominence are unleashed, piling secret upon secret, and betrayal upon betrayal. Within a claustrophobic and overwhelming environment, and haunted by the seeds of destruction that are sown by Iago, Shakespeare’s master manipulator, Othello becomes weighed down with grief and suspicion. His is not so much a journey, but a rapid descent from majestic dignity to deluded rage. It is a domestic tragedy that explodes in a furious riot of pain and anguish. This fast paced and visually engaging production, while remaining faithful to the original text, will find resonances with Leaving certificate students.

Strong central performances from an excellent professional cast in a muscular, visceral and highly accessible show make this a satisfying Othello for both student and non-student alike.

Starring Steve Hartland, Robert Fawsitt, Keith Hanna, Nichola MacEvilly and Siobhan Cullen.

This production is the Royal Shakespeare Company version abridged. 

Running time: 2hrs 30mins.

Please call the box office for group/school bookings: 01-2969340

For full details:

Review: Schaubühne, Berlin Hamlet, Bórd Gáis Energy Theatre

An overweight Hamlet, in pink Hawaiian shirt and braces, stands at the corner of a stage filled with dirt, looking out at the audience. He’s crying, but as he runs his hand down over his face the tears stop. The hand moves over the face again, and he’s weeping once more – ‘These indeed seem, for they are actions that a man might play’.

Photo Leon Farrell,Photocall Ireland2

In the course of the evening’s performance (2 hr, 30 min, no interval), the company from Berlin play many such tricks on the audience, causing much nervous laughter. When Hamlet shares with Horatio his plan for the Mousetrap, the house lights come up for the line about ‘guilty creatures sitting at a play’, asking us to reflect upon our own malefactions. Even Hamlet’s gut is shown to be nothing more than a fat suit when he strips off to perform the role of Player Queen in a blonde wig and fishnets, keeping the audience constantly off-balance. An audible gasp went up when the Player Queen/Hamlet pulled down the Player King/Horatio’s black thong for oral sex, and it was clear that the cast revelled in such shock tactics.

For all that, this was a production that offered more than gimmicky iconoclasm, as Ostermeier seems to have translated Shakespeare not simply into German, but into a postmodern vernacular. A versatile and highly mobile set consisted of a large expanse of dirt, a raised platform with banqueting table and party paraphernalia on runners, and a curtain of metal chains that also doubled as a projection screen for audio-visuals. The opening scene saw Old Hamlet interred with much pratfalls, while mourners huddled under black umbrellas as ‘rain’ was sprayed from a garden hose. Dirt dominated, as characters rolled around in it, threw it and ate it. This brought to mind the Belarus Free Theatre’s use of soil in King Lear, and particularly evocative was Hamlet’s piling of dirt in his mother’s lap during the Closet scene.Photo Leon Farrell,Photocall Ireland

The open-plan set lent a fluidity to scene changes, and this was matched with excellent doubling. While not necessarily original, in execution the pairing of Old Hamlet and Claudius (Urs Jucker), Gertrude and Ophelia (Jenny König), kept Hamlet’s tangled relationships constantly on display; a mother’s gentle kiss evokes Hamlet and Ophelia’s passionate embrace. The fluid nature of character even seems to have bled into Hamlet himself (the only character not to be doubled), whose expletive-ridden antic disposition and violent mood swings indicated an unbalanced mind, akin to the early modern humoral body with an excess of black bile (melancholia). The actor, Lars Eidinger, built up an easy rapport with the audience during the evening, exchanging banter so familiarly that you forgot the iconic role he was playing. On the news that he is being shipped to England, the exclamation ‘Piccadilly Circus’ drew laughter. Yet at any moment the rug could be pulled from under our feet; the Prayer scene consisted of a fantasy killing of Claudius, with plastic sheeting and red juice, before Hamlet turned on the audience screaming ‘Is this what you want?’.

Shakespeare’s text does not immediately suggest to everyone the need for live camera feeds, Battles soundtrack, fat suits, and silver glitter, but each element came together to eloquently express Hamlet’s central dilemma. Particularly impressive was the integration of audio-visuals from a hand-held camera projected onto the swaying backdrop of chains; for me this brought together Almereyda’s Hamlet’s obsession with recording equipment and the possibility of recording hidden depths in close-up, explored in Edward II at the National, London 2013. It was on the big screen that we witnessed Ophelia’s demise, as she struggled to breathe wrapped in plastic. The final orgy of death was similarly steeped in copious fake blood, with strobe lighting. This is not a conservative Hamlet, but who said Shakespeare was conservative?

Hamlet as a play is hard enough to summarize; this production was so rich in detail, precise in execution, and visceral in staging as to make any attempt at comprehensiveness futile. At times, I got the sense that comprehension is not necessarily Schaubühne’s main concern. This is a Hamlet you don’t watch, you experience.

Photo credits: Leon Farrell/Photocall Ireland

Resource: Reading East

Reading East banner

Reading East: Irish Sources and Resources is a window onto Dublin’s extraordinary collections of rare books.

The heart of the website is a selective catalogue of early modern printed texts attesting to encounters between Europe and the East during the sixteenth and seventeenth centuries. The project covers a variety of genres (including travel accounts, historical and geographical texts, but also books about oriental medicine, languages, religions, to name but a few examples), thus showcasing the complex and multifaceted relationships between East and West in the Renaissance. Providing detailed descriptions of each text, the site includes bibliographical reports, copy-specific information, images, scholarly essays, and links to relevant online resources. Participating libraries include Marsh’s Library, The Chester Beatty Library, The Edward Worth Library, The Royal Irish Academy Library, University College Dublin Library Special Collections, and Trinity College Library Dublin.

Reading East

Reading East was developed as a postdoctoral research project by Dr Marina Ansaldo, under the supervision of Dr Jane Grogan, at the School of English, Drama and Film, University College Dublin. The project was developed from January to December 2012 under the Government of Ireland Research & Senior Research Fellowship Project in the Humanities and Social Sciences, funded by the Irish Research Council. The website itself was created in collaboration with Niall O’Leary of the Digital Humanities Observatory, a project of the Royal Irish Academy.

Theatre: Schaubühne, Berlin Hamlet

Dublin Theatre Festival 2014 presents Schaubühne, Berlin Hamlet By William Shakespeare

Bord Gáis Energy Theatre, Sept 25-27, 7.30pm

Hamlet explodes onto the stage of the Bord Gáis Energy Theatre as one of the world’s great theatre houses, Berlin’s Schaubühne, returns to Dublin for the first time since their sold-out run of Hedda Gabler (Dublin Theatre Festival 2006).

Hamlet stands on the brink of emotional decay. The last person with scruples in a system with none, he struggles to maintain his grip on the paranoia and indecision that threatens to tip him over the edge. Mud-soaked and dangerous, spurred on by night-time visions and desperate for revenge, he forces the world to its knees.

On a spectacular stage covered in earth, blood and water, Thomas Ostermeier’s thrilling production of Hamlet cracks with energy, immediacy and raw physicality. Six remarkable actors breathe new life into the characters of Denmark’s corrupt court in this classic Shakespearean story of politics, passion, murder and betrayal.

Performed in German with English surtitles. Contains loud sudden noises.

The performance will be 2hrs 30 mins long with no interval.

For further details and booking, click here.

Seminar Series: Centre for Early Modern History, TCD

Trinity College Dublin Centre for Early Modern History
Seminar Series 2014-15
Seminars take place on Mondays at 4.00pm in the Neill/ Hoey Lecture Theatre of the Long Room Hub, TCD.

Michaelmas Term

13 October Joseph Clarke (TCD), ‘“What was God doing in the eighteenth century?”: The Politics of Providence in Revolutionary France’.
20 October Kathleen Middleton (TCD), ‘Mainstreaming the Martyrs: Confessional History Writing in Hanoverian Scotland’.
3 November Reading Week
10 November Patrick Little (History of Parliament Trust, London), ‘The Politics of Preferment: the Marquess of Ormond and the Appointment of Bishops, 1643-1647’.
17 November Rei Kanemura (QUB), ‘Defining Scotland: The 1603 Union of the Crowns and the Politics of Union Negotiations, 1604-8’.
24 November Peter Boyle (TCD), ‘Eighteenth-Century Trinity: a Quarrelsome Provost’.
1 December Máire Kennedy (Dublin City Public Libraries), ‘Irish Booksellers and the Circulation of Enlightenment Ideas through Print’.
8 December David O’Shaughnessy (TCD), “Bit by some mad whig”: Charles Macklin, Man of the World’.

Hilary Term

19 January Edoardo Tortorolo (Università degli Studi del Piemonte Orientale), ‘(More) Connected Worlds: the Eighteenth Century from a Global Perspective.’
26 January Timothy Watt (QUB), ‘Taxation Riots and the Resistance to the Fiscal-Military State in Early Eighteenth-Century Ireland’.
2 February Susan Flavin (TCD), ‘Consuming Elites: Diet and Nutrition in Sixteenth-Century Ireland’.
9 February Emma Hart (St. Andrews), ‘From Field to Plate: Livestock Markets and Economic Cultures in Britain’s Atlantic World Before 1783’.
16 February Hannah Murphy (Oxford), ‘How to be a Burghermeister in Sixteenth-Century Germany’.
23 February Reading Week
2 March Silvia Evangelisti (Univeristy of East Anglia), title tbc.
9 March Howard Louthan (University of Florida), ‘Poland and the Challenge of Multiconfessionalism in Early Modern Europe’.
12 March Ulinka Rublack (University of Cambridge), ‘Dressing up during the Renaissance and Reformation’. Annual Centre for Early Modern History Annual Lecture. N.B. this lecture begins at 6.30 pm.
18 March Dan Edelstein (Stanford), ‘On the Spirit of the Rights’. N. B. This seminar will start at 5.30pm in the Long Room Hub.

For further details of the Centre’s activities, please contact Joseph Clarke at

Job: Queen’s University Fellowship Scheme

QUB’s new Research Fellowship Scheme has been established to attract outstanding and ambitious researchers from across the globe to join Queen’s University. The support that will be available for the Fellows is exceptional enabling them to become leaders in their field. Queen’s Fellows will initiate, develop and manage high level research projects in line with the University’s research strategy. As such the scheme is aligned to the University’s vision that is based on world class leadership in the pursuit of excellence which is relevant to society.

This prestigious four year Research Fellowship is a fantastic opportunity to build upon the foundations of an academic career and will lead to an academic post, subject to performance. The purpose of the scheme is to support the Fellows in pursuing their research. There will be a lighter teaching load and administration responsibilities during the award. Some teaching responsibilities will be introduced into the role to ensure the post-holder can transition appropriately to an academic post.

To support our ambitious research strategy we are currently making a substantial investment in our priority research areas and expect to award 20 fellowships at this time.

Full details about the post are available in the Job Details.

This scheme includes a ‘Collaborative Humanities’ strand.

Deadline, Friday October 17, 2014. See website for more details.