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TAIBH ISSUE 02
23|02|2017
PERFORMANCE & LIVE
ART IN IRELAND

who are we Thanks to

4D Space is a curatorial collective focused on In:action, Dr. El Putnam, Louis Fallon,
promoting performance and live art in Ireland. Dublin Live Art Festival, Livestock, Ciaran
We hold  events, exhibitions and workshops O'Keeffe, Silvano Magnone, Keith Dixon,
around the country and also self publish this zine Zoe Ni Riordain, Pseudocrem, The
which is a showcase of performance and live art Workmans Club, all performance and live
happening around Ireland. artists in Ireland for doing what you do
and you for reading this.
We are Áine O’Hara and Tara Carroll.
Photo: Greta Moore by Aine O'Hara
Email: [email protected]

fourdspace.com

Contributors

Tara Carroll
Aine O'Hara
Louis Fallon (Cover image)

For this issue we were lucky enough to collaborate
with  in:Action — an  Irish Live Art Review which
contains reflections and responses to live art
created by Irish and Irish-based artists. in:Action
was developed by Níamh Murphy and EL Putnam
as a site to cultivate discourse and a public
platform for practitioners, curators, writers, and
aficionados to share ideas about performance art
in Ireland.
Find out more at inaction.ie
Our in:action contributors are:

Dr. El Putnam
Angela Mc Donagh
Pamela Whitikar

Room:
An evening
of live
performance

Written by  Angela McDonagh

I think we can all relate to the feeling of ‘what is next?’ as artists.
This pause after completing a body of work, the pause after
studying; this pause is necessary. It is not an empty space—it is
a loaded in between. In my own research I had considered the
many spaces that are possible, which one was I trying to find,
that made sense to the Phenomenological experience I had
encountered in the presence of loved ones passing away.  After
much making and consideration of other defining words and
concepts, such as liminal space and nowhere, it was eventually
the Japanese aesthetic principle MA that made sense to that
experience—the pause, the space between two structured
parts, where the light shines in and through.

It was in one of these moments I found myself sitting in my
front room at home. I had just completed my MFA and wanted
to make something happen. The idea of waiting for potential
grants to find the right space sat too heavy for me as I wanted
to act now. I must add that keeping a practice going as a mother
can be challenging. I have watched friends juggle, all the roles
that we carry as women, managing childcare and passionate to
make work all at the same time. Opening up my home made
this possible for me to address with ease, as I am basing myself
at home.

It now seems obvious if I consider my art practice, based on the
experience of space and place, facilitating flow within the built
structure. I considered using the front room, then, why stop
there, the whole house could be used, and so as a needs must,
a space for live performance evolved. I began to invite people
over for tea, and this built into each artist being drawn to
different areas of the house.

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19

 Everyone brought something unique from the To offer food is another way to add a layer of
walls, to the bathroom, staircase and the comfort, and welcome people around the table
kitchen. Perhaps it is that the space is a home, creating more dialogue.
that the work presented was beautifully
sincere, and personal, along with the bizarre As long as I’m here, I will continue to open up
and funny, and we all identify with these this space and feel privileged to see artist bring
experiences in houses, be they our family these bricks and mortar to life
homes, or a short term rental in a room. We
carry these memories and feelings, sometimes Photos: Angela McDonagh
never putting shape or form on them, but I see
that Room has become a space to allow for
that flow.

It is also important to consider that existing as
a community of artists we need to find ways to
support each other. This can start local and
spiral outwards.  Room is activated by artists
and friends coming to engage as both
performer and audience, in fact this lines
becomes blurred as we move from room to
room, I’ve had a few moments where it feels
like a house party, also a familiar feeling

TAIBH | PAGE 03

memory

Written by Tara Carroll

‘Read the text multiple times. Become comfortable Performance art can be a very taunting and
with it. Why did you choose this text? What does it confronting medium to approach. It is a medium one
mean to you? Think of the memory attached to it. rarely falls upon as school programs often
Take a word, a sentence, a paragraph or the whole  concentrate on traditional art forms. The
text. Embody it. Focus it in to a single gesture. transitioning period into Art College should allow
Repeat it. Exaggerate it. Slow it down. Move the performance art to be more accessible. Each year
gesture through out the space.’ performance art is less and less likely to be seen at
grad shows, as facilities and classes are not provided.
 Above is a sample of what we asked of the Áine and myself had the privilege to attend
students of the Institute of Art Design and performance workshops during our time in college.
Technology, Dun Laoghaire last month during They drastically changed my approach to art making
a 4D Space performance workshop. The as an exceptional teacher brought me out of my
students came from different disciplines, such comfort zone. My practice may have swayed towards
as psychology and model making, each bringing performance art eventually but I believe the
something original to the table. Some students challenges I faced in workshops, the boundaries I
had never come across performance art let surpassed and the ongoing support from an
alone performed it. Their curiosity transformed encouraging teacher made me discover my craft. 
into appreciation and an openness to explore a
new medium. Trust and unity continued to
develop throughout the day as our exercises
focused on translating their memories into
pieces of performance and presenting them to
the other students.

One student used a megaphone to confess the
intimate yet comedic writings of their junior
infant diary to the whole courtyard. Another
student led us on a journey around the college
while they tried to keep us quiet, they said
‘shhh’ to any door squeaking, any passer-by that
mumbled and to loud footsteps creating the
feeling we were naïve children. 
One stood in front of a mirror in a crowded
toilet inviting us into their world as they
transformed their distinct appearance to a
more accepting societal norm.

TAIBH | PAGE 04

19

Photos: Áine O'Hara

"We want to encourage This is why one of our collective’s main aims is
students to explore the to provide workshops. We want to encourage
raw and provocative students to explore the raw and provocative
medium that is medium that is performance art. Create a
performance art." platform for them to express their curiosity.
 - Tara Carroll One day of performance workshops led many
(4D Space) students to gain a new appreciation for the
medium. The workshop even gave two
 students the confidence to submit their work
to our zine launch night open call. We are
honoured to be showcasing the debut
performances of artists Daragh Matthews and
Adele Marikar, two blossoming students who
attended our workshop at IADT. I hope the
night will help them develop a thirst and
eagerness to continue in the pursuit of a new
craft.

TAIBH| PAGE 05

Something 
to chew on

Written by Aine O'Hara

LIVE COLLISION, established in 2009 by Lynnette Visions of Dublin, of triptychs of hell in smoking
Moran is a Dublin - based  international live art areas, of genderless angels, of charming art
festival and year-round Creative Producing house historians. The unhinged style of the piece is
redefining the ways that artists create, engage endearing though some moments of stillness
and collide through live performance and digital would have made for a stronger piece.
platforms. As part of Project 50 - a celebration of The ever entertaining Malaprop present the
50 years of Project Arts Centre, LIVE COLLISION multimedia Everything Not Saved, a theatrical
presented: LIVE COLLISION INTERNATIONAL investigation of memory during which I
FESTIVAL // SPECIAL EDITION 2016 at Project Arts questioned what memories (people, historical
Centre, Dublin. events, days, dates, songs) are most important
to me. How much of our memory is actually
Their BITE SIZE // SCRATCH was a scratch night what happened?
featuring emerging artists who are making new
work in Ireland. It featured Seán Kennedy (maker I hope to see these productions fully realised
of BOY which premiered at Dublin Fringe 2015), and am grateful to BITE SIZE // SCRATCH for
Isadora Epstein with The Vision Cycle and giving these emerging artists an open and safe
MALAPROP, a Dublin-based collective of platform to develop their work.
emerging theatre makers. (Winners of the 2015
Spirit of Fringe Award for LOVE+ and currently For more info go
presenting JERICHO at Bewleys Cafe Theatre 20th to: http://www.livecollision.com
feb - 4th March ‘17).

Seán Kennedy presents a painfully honest
representation of abuse through words and
music. Julie Shanleys clarinet along with Seáns
stunning voice merge to create a soundscape of a
domestic war.
An enigmatic performer, Seán pulls us through
this fight and shows us what it took to make it to
the other side.

Isadora Epstein is clever, charming and hilarious.
Isadora is having visions. In front of us. 

TAIBH| PAGE 06

channels
of 
creativity

Written by Dr. El Putnam

What drives a person to create? Where does The night continued with Rauairi Conneely, a
the impetus to take the experiences, the self-declared “poet by accident.” As he let his
emotions, the sensations that run through verses break the silence, he drew attention to
our beings and twist them into something mundane idiosyncrasies, shifting perspective
to share with others? Words, gestures, and just enough to bring beauty even to the
tones emerge from our bodies in attempts humble sneeze.
to share sentiments that exceed linguistic
structures.

These are some of the questions that
drifted through my mind when I attended
the “Celebration of Creativity,” curated by
Roisin Jenkinson in early February. Tucked
into the heart of Howth, various poets,
writers, artists, and singers came together
to share their creative expressions live with
others. The night began with a collection of
songs, as Michaela Jenksinson’s rich voice
filled the hall. Her body and sounds
projected a joy that transmitted through the
air, with audience members tapping their
feet and humming along. This was followed
by Robert Fullerton reading a short story.
Even before I could differentiate the words
of his text, the pronounced rhythm of his
voice carried an intensity that enraptured
my attention.  As the verbiage began to
solidify into narrative, I let myself be carried
along with the quirky tale, smiling in sync
with the laughter that grew in the room. 

TAIBH | PAGE 07

“The position of the Her limbs protruded in sculptural angles and 19
artist is humble. He is the cloth stretched, engulfing her body into its
essentially a channel.” — folds. She hid in plain sight, simultaneously
Piet Mondrian exposing and covering herself at a tempered
pace. I glance around the room — wondering if
Even at this early point of the night, I am struck this was some people’s first exposure to
by the varieties of expression, as people slip performance art. The bringing together of
from different corners of the imagination to poetry and performance art is a particular
craft an ephemeral expression of human interest of Roisin Jenkinson’s. Muthi’s body
existence. Next up was the performance of a encompassed the distillation of emotion into
theatrical scene by members of the Ballymun gesture, what poetry does to language, forcing
Writers’ Group (Nancy Matchton Owens, Maria the audience to slow down, opening a space to
Francis, and Hazel Masterson) that offered a think without direction that breaks from the
playful spin on tropes of Irish hospitality and flow of words that had dominated the evening
family dynamics. Beneath this humorous thus far. The juxtaposition of Muthi’s actions
presentation is the pull of human tensions, the with the other performers emphasizes how
inevitable clash of emotions that accompanies whatever the means of expression, people
conflicting desires. Their rendition was desire to share ineffable emotions, giving form
followed by Christina Molloy reading some of to these sentiments, whether through language,
her poetry, who articulated another melodic sound, or the body itself.
undercurrent of the evening — creativity Shay Phelan returned us back to narrative with
behaves as a form of spiritual practice. his songs, where he shared stories intermingled
with his hopes and faith. The evening ended
“The position of the artist is humble. He is with Seán O’Donoghue, someone who was not
essentially a channel.” — Piet Mondrian on the original line up, sharing a poem that
recounted a traumatic experience of almost
Even though I do not share the Christian faith drowning while working as a deep-sea diver on
expressed throughout the evening, I identify an oil rig. I was humbled into silence as he
with the use of creativity as a means of transformed a horrific event into a beautiful
connecting to something beyond myself, recount, where the ripples in the ocean are
opening a common ground between us. In his traces of human labor — the unknown men and
poetry and dance, Brian Miller further women working in dangerous conditions to fuel
emphasised how performance can be a form our lives. The image of subtle waves flowing
of prayer, where dance becomes worship. through the water reinforced another common
theme found amongst the works — as
The atmosphere of the room shifted as the individual humans, we are connected to worlds,
lights dim and Milena Matejko shared her milieus and courses of experience greater than
poetry, giving form to questions of art’s us all.
purpose through her passion fueled
expression. Then, there was a bold transition Throughout the night, an honest creativity
as Sara Muthi presented a work of drifted from the performers, emphasizing the
performance art. Standing in front of the room, importance of people coming together to share
she let her hair swallow her visage as she their imaginative escapades with each other.
twisted and molded her body within her Despite the differences, each performer
clothing.  presented a story of the self, sometimes in the
form of a narrative, sometimes as an aesthetic
TAIBH | PAGE 08 gush of emotion.

the consolation
of performance
art

Written by Tara Carroll

Queer is a word that I have been unable to fully The artists each had their own distinctive approach
grasp, being unsure where I fit in the spectrum to the theme of the evening. It demonstrated the
of the ambiguous term. In the Collins dictionary endless possibilities of performance art, that there
it states that ‘Queer’ means, “differing from the is no single method to the madness of the
normal or usual in a way regarded as odd or medium. One artist in particular provoked
strange.” Through a medium far from the norm, something inside me that I have never experienced
‘Queerstock’ used performance art to create a while in the presence of performance art. Dylan
sense of community and support and I have not Kerr an exuberate and vibrant person wearing a
felt like I belonged until that evening of live art. gold dress, black angel wings, platforms and a bad
There was an overwhelming feeling of kitty choker became vulnerable in front of our
acceptance and harmony no matter what your eyes. He stood in the spotlight of a darken space
gender or sexuality was. The array of diversity of knees shaking and eyes closed tight. His warm
artist’s body’s and personalities endued the beautiful voice cut the silence engulfed the space 
audience a collective consolation of their own
obstacles and prejudices they have faced.
On entering the space infused with colorful
lights, we are greeted by a giant pink triangle
(Martin McCann) mastering the beats as he
brings us on a path to nostalgia. Street boobs
(Niamh Murphy) is devising alcoholic
concoctions as she bounces to the beat. A
spotlight highlights an installation of three filled
white rubbish bags in the centre of the space.
The music heightens as one of the bags begins
to move. The bare legs belonging to the artist
Francis Fay erupts out of one of the bags. He
begins to flick his feet in the air while his
dissected body rolls along the floor. He moves
erotically to the rhythm of the music as his pink
wigged head emerges from the top of the bag.
An exhilaration of crepe paper, feathers and silly
string launches from the restrictions of the
bags. The artist breaks free from his
confinements and floods the space with his
vibrancy.

TAIBH | PAGE 09

19

"These lyrics broke me Overwhelmed with vulnerability, these lyrics
down and brought me to broke me down and brought me to tears. The
tears." most raw and emotional response I have ever
experienced while encountering art. I want to
with song. He sang a familiar Irish song with thank all the artists and Livestock for reassuring
the simplicity of changing one lyric – ‘she’ to me that art can make a difference, it can create
‘he’. A potent and imperative change that unity and it can help people over come
needs to be reflected upon society in regards obstacles and boundaries.
of acceptance.
Photos:  L--R Day Magee, Dylan Kerr, Francis Fay
My love said to me by Aoife Giles
My mother won’t mind
And me father won’t slight you
For your lack of kind
Then he stepped away from me
And this he did say
It will not be long love
‘Til our wedding day.

TAIBH | PAGE 10

enough
rope

Written by Dr. El Putnam

I am sitting on the ground, near the back of
the room in front of a glass door. My legs
are angled, heels on the floor, toes in the
air. My hands touch the cold concrete below
me, but my head is raised and I maintain an
unfocused gaze. People enter the space — a
kitchen in Arbour Hill, Dublin, Ireland. They
chatter away, sipping on beers. A bowl of
water sits between my legs and a
metronome rests to my right. I turn on the
metronome so it ticks at 42 beats per
second — the regular clicking of the
mechanical object draws the audience
attention to my presence. I stare at them,
scanning my gaze across the room. I slowly
rise, letting my spinal cord unwind one
vertebrae at a time. As I lift, it becomes
apparent that a rock is suspended between
my thighs, harnessed by a crocheted net
and attached to a knit rope, created from
red and blue yarn in a loose reference to
the circulatory system. The rope wraps
around my torso, chest, shoulders, allowing
the weight to be distributed around me
while melding its form to my body. I spread
my legs in a subtle squat as I raise my back
until my head is aligned with my pelvis.
Then, I bend down, again at a leaden pace,
even more slowly than the metronome in
order to dilate time and allow my gestures
to be pushed by the weight of the stone
that enwraps me. I lift the bowl of water,
though ensuring that the rock does not
brush the ground.

TAIBH| PAGE 11

Once the bowl is chest level, I recite from As an American living in Ireland, there is a part19
memory the first part of article 41, section 2 of of me that always feels foreign — external and
the Irish constitution: excluded. Stepping into this different cultural
environment, my sense of familiarity is warped
In particular, the State recognises that by her as I am forced to adapt to a new normal.
life within the home, woman gives to the State Everything I thought I knew of the mundane is
a support without which the common good twisted as what I have taken for granted in the
cannot be achieved. daily running and maintenance of my life turns
alien.  Becoming a mother in a foreign context
I submerge my face in the bowl of water and amplified these sentiments as I am made
let out a guttural scream, liberating a pent up vulnerable to a medical system and cultural
anger amalgamated from fragments of understanding of the maternal that counters
experience as a woman, a mother, a foreigner, my expectations. In particular, the influence of
an outsider.  I last until my breath depletes, the the Catholic Church that has seeped to the core
water bubbling around my immersed features. of the nation’s infrastructure during its
formation and development remains an
I lift my head, whipping my hair back, droplets ideological spectre. While the culture takes a
releasing in sprinkled trajectories. I collect my secular turn, there are elements that linger. I
composure, allowing the weight of the rock and did not anticipate it to affect me so greatly,
the water to stabilise and ground me. I recite drawing up memories of discomfort from a
the second part of article 41, section 2 of the faith I left behind long ago. Like a spiritual
Irish constitution: muscle memory, it remains engrained in my
physiology. Caught in this context, with a
The State shall, therefore, endeavour to ensure reflexive bristle whenever I find the need to
that mothers shall not be obliged by economic adjust, I test the limits of my malleability. My
necessity to engage in labour to the neglect of emotions simmer as I come to a new,
their duties in the home. negotiated state of being, all the while ushering
My memory fumbles; I am unable to dictate it a new human into the world.
exactly, though I let the words tumble from my
lips without making an attempt to correct EL Putnam performed Enough Rope at “Room,”
them. I let my body curve downwards,  organized by Angela McDonagh on September
descending with the force of gravity as I replace 30 2016. Photographs by Cathy Coughlan.
the bowl on the ground. 

Pulling myself into an erect posture, I move
towards the front of the room, placing down
each foot with the beat of the metronome,
letting the repetitive pulse carry me. I continue
through the hallway and make my way up the
stairs, maintaining my rhythm. Someone
follows me to the bathroom. I can feel her
presence behind me. I enter the bright tiled
room, shifting my body as I grab the door,
swinging it shut. Our eyes meet for a moment
as it slams in her face. I end my actions alone,
deep in the core of the house.

TAIBH | PAGE 12

Save
yourself

Written by Aine O'Hara Davis then shows us a pistol and invites audience
members down to try to shoot one of the
On Friday November 25th I ended up at Random dancers with the pistol (with a theatre blank). The
Screams What you need to know, by chance. dancers are shot one by one and each die a
I knew little of the company or the show before dramatic death.
entering the theatre. We are presented with a
bare stage. Four people enter, three of them are What you need to know is an honest, compelling
carrying guns. They leave them on a table stage .and unfortunately necessary show in todays
right. The charismatic Davis Freeman introduces world.
himself along with three dancers. He immediately For more information on what to do if you find
addresses our fears, telling us the the world right yourself in a situation like the ones described in
now is kinda terrifying. We are thinking of Paris, of the show can be found at
the shootings in Paris and he tells us that one of :https://vimeo.com/142319477.
these guns, an AK47 is what was used in the
recent terrorist attack in Paris. They reference What you need to know and 7 promises were
numerous terrorist attacks. They speak honestly presented as part of One Time Season, a
about their fears and tell us that they are going to celebration of contemporary theatre featuring
show us how to use these guns. works by Pan Pan and the greatest hits of
American/Belgian group Random Scream.
 “What we teach you right now, could save your life.” One Time Season was presented as part of
Project 50, a season of work celebrating 50 years
Davis falls into the role of teacher as the dancers of Project Arts Centre.
respond to his presentation.
Davis Freeman created the company Random
“This gun is an exact replica of the gun used in the Scream in 1999 to expose the eclectic elements of
Columbine shooting.” everyday culture with proposed lines of flight for
dance, theatre, and visual arts.
He tells us about one brave student in Columbine
who picked up a discarded gun and tried to shoot
it at one of the attackers but because the safety
was on, nothing happened and the student was
shot.

He shows us how to take the safety off.

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19

“What we teach you right  They propose 7 promises for us to take in order
now, could save your to create a more sustainable world. With each
life.” promise you receive a free shot of vodka
(absolut - no off brand stuff). We sign a pledge
Originally created with the artist Lilia Mestre, and make a promise. Though we are free to lie,
Random Scream is now run by Freeman and his no one is going to make sure that we follow
ever evolving mix of collaborators. The projects through. Again, Davis approaches his work in a
aim to draw attention to what is already there by unique way. 7 Promises is a clever use of the
focusing on our personal interactions and how medium. It is at once both humorous and hard
our choices directly affect each other and the hitting.
community we live in. Freeman is an American
performing artist based in Brussels and has The promises range from ‘I will remain silent for
worked with Forced Entertainment, Meg Stuart an entire day of my choosing next week’ to ‘I
and Superamas. promise to have no (more) children for the rest
of my life’.

I loved What you need to know so much that I got I made 5 promises and took 5 shots of vodka.
a ticket to their second show of the night 7 I kept one of the promises.
Promises. The performance features two
ecological preachers calling their audience to turn Photos: Silvano Magnone
their words into action.

TAIBH | PAGE 14

TAIBH | PAGE 15

Our Story of
Resistance

Written By Pamela Whitaker (Witness)
A response to A Rose By Any Other Name by
Vickey Curtis at the Dublin Live Art Festival,
Sunday, August 14, 2016, 1300-1500.

Vickey Curtis is a spoken word artist. Her  At every stop there emerged an experience, a tribute
performance A Rose By Any Other Name and a conversation. There was no audience at a
spoke the language of street harassment in distance, only a network of collaborators who
the course of a walk from the Spire to identified with the accounts of verbal harassment. It
Rathmines. Writing down words of violation felt like a pilgrimage, and a commemoration, but also
on her white t-shirt, Curtis publically a protest against silence. A Rose By Any Other Name
proclaimed the abuse of others. Her actions enacted a therapeutic quest charged with politics and
were matter-of-fact, her words true-to-life, social action. We stood together as an intervention
and her purposeful gait acknowledged lives opposed to random acts of hurt and suffering,
affected by the interference of strangers. considered by most of those surveyed as all too
common and by some the usual.
A Rose By Any Other Name began as an
enactment of research. It was a walking
declaration naming the harassment of
twenty-one survey respondents. An
audience of participants quickly formed into
solidarity against street based harm. We
reflected upon our own experiences, as we
followed Vickey through a map of both
intrusion and fortitude. Each story, once
spoken through a survey, was no longer
silent but shared amongst supporters. We
honoured each location in relation to its
statement of experience. This was living
research and the art of testimony. It was a
performance procession that followed a
path of disclosure, reclaiming the
significance of daily acts that spoke of not
only harassment but resistance.

We followed Curtis to ten sites of unwanted
comments. These were everyday places that
became locations of violation.

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19

"Don’t keep your head
down, walk proud, and be
who you are."

Vickey’s research composed a line of Words can do more harm than good, but on the
relationship; it connected the dots bringing other hand they can be our story of resistance,
separate events into alignment. The act of our way to claim rights, and distinctiveness. This
writing words of harm, and wearing them, was a performance that both talked the talk and
carried the experiences of others. This was walked the walk. It spoke and moved well, and
spoken art as an antidote to denial. Vickey led most importantly did not take everyday insults
the way, as both torch-bearer and opponent of for granted.
street hate. This performance transformed
aggressive surroundings into environments of Photos: Fiona Killeen
protection. Secrets were aired with the
conviction that they could help alter abusive
realities. If A Rose By Any other Name had a
departing message it was this: Don’t keep your
head down, walk proud, and be who you are.

TAIBH | PAGE 17

domestic
distress

Written by Aine O'Hara

Recovery is a show about family and letting go told
through song.
Using the frame of an album to tell a story, the
performers are attempting to connect with you. From
the banal to the poetic, the audience are invited into
the world of this family, who are dealing with the past
in the present tense.

Written by Zoe and Maud Ní Riordain, Recovery is an "Why don’t you ring someone
experimental and fresh work. Recovery is a live and go out for a walk?"
concept album presented in a theatre context. I was
lucky enough to catch it as part of LIVE COLLISION It’s easy to connect to the narrative of the songs,
festival at Project Arts Centre in November 2016. It is especially the matter of fact writing style and use
12 incredibly catchy pop songs that tell the story of a of passive aggression. Using lines like:
family dealing with crisis. Each song is catchier than
the next and all have an underlying mundanity that is "Why don’t you ring someone and go out for a
intensely relatable  walk?"

The four performers Peter Coonan (LOVE/HATE),
Maud Ni Riordain (Maud in cahoots), Aoife Spratt
(Trampoline) and Stephen Quinn (AKA Stefan Fae) are
multi talented. Each possessing a strong singing voice
and great presence. Quinn is particularly enigmatic as
he sings

“I made my first communion in a plain white satin dress,
the whole thing was embarrassing but all i remember
was the dress.”

Using their bodies, each other and simple props  They place us in the centre of this domestic
(cutlery, plates, biscuits, water) they create a flawless distress.
soundscape in front of us. They show us a family that
are finding it hard to communicate. They work If this comes back, make sure you see it.
effortlessly alongside each other. They are a well
oiled machine.. Photo: Keith Dixon

TAIBH| PAGE 18