And the nom­i­nees are

Ir­ish The­atre Awards

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mu­si­cal map­ping. “The idea of com­bin­ing Büch­ner with Schu­bert in that way, the last works of two young men at the be­gin­ning of the 19th cen­tury, which was also a time of ex­treme change and un­cer­tainty and hu­man self-ex­am­i­na­tion, is a lit­tle like what Ella was de­scrib­ing about where young peo­ple find them­selves right now.”

The men­tion of The Sec­ond Vi­o­lin­ist and Woyzeck in Win­ter, to­gether with a nod to the ensemble of Druid’s pro­duc­tion of Crest­fall , by Mark O’Rowe, draws at­ten­tion to some grimly fa­mil­iar nar­ra­tives made more con­spic­u­ous in the year of the #MeToo move­ment against sex­ual ha­rass­ment in the film in­dus­try and other spheres.

When all these pro­duc­tions in­volve deranged males mur­der­ing fe­male vic­tims, was it the stories that stood out or the way they were told?

“One can move rea­son­ably and ra­tio­nally from the nar­ra­tive to the aes­thetic of how they’re pre­sented,” says Crowe. “The aes­thetic el­e­ment of this year’s the­atre was very in­ter­est­ing.” In­deed, she de­scribes Cor­cadorca’s Far

Away as “spec­tac­u­larly beau­ti­ful. I had no idea the play could be so af­fect­ing and fright­en­ing. This was a tour de force of words as well as an ex­tra­or­di­nary vis­ual piece.”

It is also nom­i­nated in best light­ing, for Aedín Cos­grove and Paul Keogan’s work, and best sound­scape for Mel Mercier’s com­po­si­tions. “There were mo­ments when you glance off to the side and you see peo­ple in these derelict places try­ing to live: women and chil­dren,” adds Daly, which sounds like a per­for­mance that cor­re­sponds with the deep anx­i­eties of so­ci­ety.

Cor­cadorca is also nom­i­nated for Enda Walsh’s new play The Same, per­formed by sis­ters Cather­ine and Eileen Walsh (each nom­i­nated for best ac­tress), and in the judges’ spe­cial award for “bring­ing the­atre to in­ter­est­ing and of­ten in­ac­ces­si­ble lo­ca­tions” or, in short, do­ing what they do. “They cre­ated an en­tire world,” says Crowe. “The hardest thing to do.”

To some de­gree, though, that is what all of the the­atre recog­nised in the awards has achieved: whether in the rad­i­cally re­con­fig­ured spa­ces of the Gate’s pro­duc­tion of The

Great Gatsby, the play­ful and riv­et­ingly con­ceived limbo of Dead Cen­tre and the Abbey’s Ham­net, the mul­ti­me­dia pur­ga­tory of Land­mark and Wide Open Opera’s The Sec­ond

Vi­o­lin­ist or the vast shift­ing can­vases of the Lyric and Prime Cut Pro­duc­tions’s Red.

At its best, ev­ery act of the­atre cre­ates an en­tire world.

The Ir­ish Times Ir­ish The­atre Awards take place at the Na­tional Con­cert Hall onSun­day,Fe­bru­ary25th. Tick­etscost¤20

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