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THOMAS KiLrOY’S

THE SEaGULL(AFTEr CHEKHOV)

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THOMAS KiLrOY’S

THE SEaGULL(AFTEr CHEKHOV)

COOLE PARK, GALWAY 6–21 AUGUST 2021

ON DEMAND 5–12 SEPTEMBER 2021

GALWAY INTERNATIONAL ARTS FESTIVALJack G

leeson in rehearsals for The Seagull. P

hotograph: Ste M

urray.

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CREATIVE TEAMDirector Garry Hynes

Set and Costume Design Francis O’Connor

Lighting Design James F. Ingalls

Sound Design Gregory Clarke

Music Conor Linehan

Hair & Make-Up Gráinne Coughlan

Associate Costume Designer Clíodhna Hallissey

Assistant Director Sarah Baxter

Director of Photography Colm Hogan

CASTDr Hickey Brian Doherty

Constantine Jack Gleeson

James Liam Heslin

Peter Bosco Hogan

Mary Bláithín MacGabhann

Pauline Marie Mullen

Lily Agnes O’Casey

Cousin Gregory John Olohan

Mr Aston Marty Rea

Isobel Desmond Eileen Walsh

Cook John McHugh

Maid Mary McHugh

Jack Peter Shine

TIME AND PLACE

The action takes place on the Desmond family estate in the West of Ireland, in the 1880s.

ACT I The lawn.

ACT II The garden, a week later.

ACT III The dining room, a week later.

ACT IV The study, two years later. There will be an interval between Act II and Act III.Running time: 2 hours and 30 minutes (approximately) plus an interval.

John Olohan, Eileen Walsh and Marty Rea in rehearsals for The Seagull. Photograph: Ste Murray.

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and the distant, big city, with its deceptive promise of escape.

Revisiting the play now has had a curious effect as I now see a change in the main thrust of the play. Instead of the centrality of the Anglo-Irish, I now see the powerful theme of love. Everyone seems to be in love but this is a love that only releases destruction. If this is the result of love, can you really call it love?

Thomas Kilroy July 2021

THE SEAGULL REVISITEDThis version was first performed forty years ago at the Royal Court Theatre in London. There have been other productions since then but this one by Druid is special not least because of the extraordinary director Garry Hynes. That first production was a very English event with some brilliant English actors, including Alan Rickman, so then this one is a kind of response to it, a bringing of the play home to the West of Ireland and Coole Park. Certainly I had this setting in my mind when I made this adaptation. Coole was one of the models for the house in the play; Moore Hall in County Mayo, the home of George Moore, was another.

It was Max Stafford-Clark, the artistic director of the Royal Court, who suggested that I might adapt The Seagull to an Irish setting. He has a passionate interest in Irish history and theatre. Indeed, I had already worked with him on my play Tea and Sex and Shakespeare at the Abbey, some time before this, with Donal McCann. Max’s suggestion that the new version be set in a West of Ireland ‘Big House’ had a curious source. His father was a distinguished Freudian psychiatrist who was advisor on the John Huston film, Freud. So, when Max was a

student at Trinity in Dublin, Huston invited him down to St. Cleran’s in County Galway where the film director was living the life of a country squire. Max loved it. He had the Anglo-Irish gentry in mind when he read his Chekhov. It just so happened that I had the same fascination myself.

I have been asked more than once to adapt other plays of Chekhov and I’ve had to say no, I couldn’t do it. I couldn’t find a personal route into the material, comparable to my fascination with the Anglo-Irish and I had exhausted this with The Seagull. My fascination was two-fold, partly my sense of Irish history but also my reading of Anglo-Irish literature, writers like Yeats and Synge, Shaw and Wilde. There were also the Anglo-Irish novels of the nineteenth century, particularly one novel that lies behind this adaptation, George Moore’s A Drama in Muslin. This book gives a vivid picture of life in the Anglo-Irish ‘Big House’ in the West of Ireland during the period in which the plays of Chekhov are set. It catches the confusion of the household on the eve of revolution, the constant traffic, the mixing of people from different backgrounds, the complex relationship between the provincial, rural household

Brian Friel and Thomas Kilroy pictured at the Chekhov House-Museum, Yalta, on a visit in 2008. Photograph: Anne Friel.

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the lakeside home of the Desmonds. Russian names are changed to Irish names. The original Irina Arkadina now becomes Isobel Desmond, the leading actress of the London stage ('Just mention Ellen Terry to her and all hell breaks loose'). Boris Trigorin changes to Mr. Aston and 'the Seagull’, Nina, becomes Lily.

The new setting of 1880s Galway positions the play both in and approaching moments of great social change. Chekhov had a gift of setting out action within a play that often leads to a succession of enquiry long after the play’s ending. He knew stories

continued to reverberate after they were finished being told, where families and memories are in motion between tradition and change, from The Cherry Orchard to Three Sisters.

The Russian peasantry endured much of the same fate of the Irish tenant farmers of the mid to late nineteenth century – subjugated by a wasteful landlord class and who existed through traditional means of often subsistence agrarian practice. Yet, the balance of power was also becoming unsettled in Ireland, politically and economically. The resulting financial and social decline of many landed families

A STAGE UPON NATURE – KILROY’S CHEKHOVThe Seagull was very nearly Chekhov’s last play. First performed in St. Petersburg in 1896, it was, in the playwright’s own words, ‘a complete fiasco … The moral: one should not write plays.’ Chekhov swore he would write no more for the stage following that calamitous opening run of The Seagull. That changed when the Moscow Art Theatre staged a new production two years later in 1898, directed by Konstantin Stanislavski and Vladimir Nemirovich-Danchenko. The immense success of The Seagull would prove to be of vital importance for establishing both Chekhov to Moscow audiences but also the Moscow Art Theatre itself, and all it would achieve and influence in modern theatre globally. So much so, in fact, was the Moscow Art Theatre so enthralled to the play’s success, that it adopted the white seagull as the theatre’s emblem.

The play’s journey from Moscow to Galway was also quite circuitous. The play was initially a commission made to Thomas Kilroy from the Royal Court Theatre in London. The theatre’s artistic director, Max Stafford-Clark, wrote to Kilroy in 1980

to explore moving the setting of the play to the West of Ireland and to ask if Kilroy would write the adaptation. Stafford-Clark’s father was a notable psychiatrist who was called on to advise John Huston at his Galway home at St. Clerans when working on his 1962 film, Freud: The Secret Passion. Kilroy’s adaptation also brings a form of psychological exploration to what he termed ‘the condition of the colonizer’, culminating in what he described as his ‘fascination with the Anglo-Irish and by the place of the Big House in Irish history, and the role of the Anglo-Irish in our literature’.

Kilroy’s literary archive is housed at the Hardiman Library, NUI Galway, where Kilroy was Professor of Modern English when he first worked on The Seagull adaptation. The Kilroy archive, of over fifty boxes of manuscripts, includes the first drafts of The Seagull adaptation, which document the development of an idea and of Kilroy’s visualisation of Chekhov’s Russia onto the landscape of the fictionalised Desmond Estate in the West of Ireland. In Kilroy’s manuscripts we see the first mapping of characters as well as of landscape from Chekhov’s Russian provinces to

Cover of rehearsal script of Thomas Kilroy's The Seagull, Royal Court London, April 1981. Kilroy Archive, Hardiman Library, NUI Galway.

Manuscript draft of the opening scene of The Seagull by Thomas Kilroy. Kilroy Archive, Hardiman Library, NUI Galway.

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affected their wealth, family ties, faith, and influence. For many of the landed Anglo-Irish gentry, a land clearing also became a family clearing.

The punitive rents could not be paid by impoverished tenants across Ireland of the time. Political and agrarian agitation would see the establishment of the Irish National Land League in 1879 in Co. Mayo. A national movement was now underway and its effects are mirrored in The Seagull through the ineffective estate management of Cousin Gregory. By the end of the nineteenth century, a wave of cultural nationalism and the desire for a new theatre of the poetic imagination, like that longed for by Constantine in the play, takes root in Coole Park, through Lady Gregory, W.B. Yeats, Edward Martyn and others. The links to Gregory are dotted throughout the play. The opening of the rickety theatre constructed on the house lawn is aligned with lunar movements – the darkening of the broad western night-time sky was in line with the title of one of Gregory’s own most celebrated plays. As Constantine, ‘the son of a Galway merchant’, declares to Peter:

CONSTANTINE: Now, uncle! (Surveying the stage) Isn’t this what you might call a theatre! A stage, a curtain and ‘Nature’s naked lovliness’. We’ll begin with the beginning of

darkness and the rising of the moon.

Kilroy’s great achievement is in capturing the lyrical sentiments of a family, with all its complexities, linked to its environment, class, relationships, and the rhythms of the language and memory of the land, rooted in what Kilroy described as the spaces between ‘the life of the imagination and the world of daily living’:

LILY: Can you see that house in the distance, through the trees?ASTON: YesLILY: That’s my home. It was my mother’s home, too. I know every inch of this countryside. I know all the secrets of the lake.

These reverberations of family lore, of whispers and secrets, across time and through generations is perhaps the most Irish of phenomena. Kilroy succeeds, not just by bringing Chekhov into an Irish context, but by enabling us all to see outwards, into a universal and yet local world, populated by all the stories of place, and of the people who live there, as Aston describes, ‘in communion with the stillness, the elements. Like a seagull.’

Dr Barry Houlihan NUI GalwayJuly 2021

Agnes O

’Casey in rehearsals for The S

eagull. Photograph: S

te Murray.

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DESIGNING THE SEAGULLWhen Garry talked to me about playing The Seagull at Coole Park, it felt immediately like a great fit and the right play to make after DruidGregory. With DruidGregory, we performed the plays across the entire site at Coole. They worked really well as short plays performed in different places and allowed the audience to both discover the plays and the place. The journey between the different spaces became the essence of the design. As you reached each place, the audience was drawn by the light sculptures that enhanced the natural setting of each play.

Initially we thought of doing something similar with The Seagull but, having worked on some concepts which initially excited us, it became clear that it wouldn’t work. While we wanted to embrace Coole Park, we felt the audience needed to be able to sit and to listen to this play. We felt it was important to acknowledge that we were doing The Seagull outdoors, open to the earth and sky, but we also needed focus.

Given Constantine makes a rudimentary stage for his play-within-a-play, the design for our actual stage takes its cue from the honest simplicity

of his stage. The side walls and stage provide focus and simple wing space left and right while the landscape of the walled garden is revealed between these wooden walls. The lake at Coole isn’t visible but it’s just beyond the stone wall in front of you. The lake is essential to the story and we’ve created an impression of water as a strip of light and glass bisecting the landscape.

Acts 3 and 4 are interiors and we simply fill the gap in the walls to create these spaces. I’m hoping Act 4, which happens at night, will have a haunted beauty about it but you can only imagine these things until

they are made real. That making real involves huge effort from everyone in the team: carpenters, painters, props and costume. Druid is blessed with its own brilliant workshop and team of technicians who have built the set and our al fresco auditorium.

The challenge for designing outdoors is mainly about durability, wind and rain resistance - these are the limiting factors. The essential rule of making a great space in which to tell a story remains the same: you hopefully recognise the environment you have, you embrace it, enjoy it then enhance

it. I hope that’s what we’ve done for you as you settle in to watch this production of The Seagull.

Francis O’Connor Set and Costume DesignerJuly 2021

Sketches of early set ideas.

A model of the breakfast room set from Act 3.

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For both DruidGregory and The Seagull, Francis’ set designs enhance the natural beauty of Coole, it frames the setting in which we find ourselves. It is then perhaps the task of costume to give us a few more clues, to define the era, to outline differences in status etc., as the actors reveal their characters to us. Costume colours inside the lines of Francis’ structures so to speak and, under his careful guidance, does so gracefully.

For DruidGregory, costume quick change boxes were hidden around the park with some actors having to underdress many layers in order for changes to happen seamlessly. Francis designed beautiful hooded cloaks that we made in wax fabric so the actors would have rain cover that fit the period if needed, although when it came to it, most actors chose to brave the rain.

It was such a treat getting to associate design on a show of this particular period. Many of the quick changes that need to occur have been built into the costumes to make transitions easier as in The Seagull we are dealing with period garments with more complex construction for the women in particular. In terms of the practicalities of designing for outdoors, durability

and assisting the ease of changes is important. Other than that though, design still remains character-led, you can’t always be thinking ‘what will we do if it rains?’ or you might scare yourself off the beautiful embossed velvet that speaks so truly of Isobel’s character or shortening her skirts so they don’t drag on the ground. Lily’s costume features some beautiful Irish linen and some embroidery that was inspired by the pattern of a Galway shawl. Peter’s frock coat gives a nod to a life once richly lived and Isobel’s opening ensemble introduces us to her flamboyant artistic flair. It’s the nuances

of a character that a costume reveals that I find the most exciting.

As with every show, there will be costume challenges, particularly when it comes to maintaining garments that see a lot of wear and tear throughout the run and even as I write this I am sure there are many challenges that I won’t discover until we begin to tech.

For this show our costume team was spread between Kerry, Galway and Dublin. Something that might have seemed unthinkable pre-pandemic didn’t seem quite as impossible after a

year of zoom calls and online buying for live-streamed shows. It was necessary however as the Druid costume store has very little of this era in stock and so almost all of the women’s garments were made from scratch by our incredibly talented makers Marie, Denise and Esther. I don’t think I’ll ever tire of seeing how it all comes together - from choosing fabrics to final garment fittings.

Clíodhna HallisseyAssociate Costume DesignerJuly 2021

DESIGNING THE SEAGULL

Costume design sketch with swatches for the character of Mary.

Costume mood board for the male characters.

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RAY McBRIDE

Druid mourns the recent death of actor and dancer, Ray McBride.

He was celebrated in his native Galway, across the country and abroad. He will be fondly remembered by all of us who knew him.

'Druid was first introduced to Ray by his mother Kathleen who told us about her talented son. We invited him to audition for us when he returned to Galway from a college scholarship in America and cast him without hesitation. His dozens of acting credits with Druid included The Wood of the Whispering (1983), Conversations on a Homecoming (1985) and Waiting for Godot (1987)' – Druid’s Artistic Director, Garry Hynes.

As well as being a talented actor, Ray was an extraordinary dancer with a gift of rhythm and an ability to express so much through his dance. He worked on the movement and choreography of many of our productions.

Our thoughts are with Ray's mother, his family and many friends.

Ar dheis Dé go raibh a anam.

“And still they marvelled and the wonder grew, that one big head could carry all he knew…fella” – Liam, Conversations on a Homecoming.

‘Ray was an exceptional talent and one of the nicest and most generous of men. I'll miss him so much’ Garry Hynes

Ray McBride (third from left) with fellow cast members Paul Brennan, Jane Brennan, Pat Leavy, Seán McGinley, Marie Mullen and Maelíosa Stafford in Conversations on a Homecoming (1985).

Bláithín M

acGabhann in rehearsals for The S

eagull. Photograph: S

te Murray.

Brian D

oherty in rehearsals for The Seagull. P

hotograph: Ste M

urray.

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Deputy Stage Manager Sophie Flynn (from 5 July)Emma Doyle (from 19 July)

Assistant Stage Manager Dylan Farrell

Costume Supervisor Clíodhna Hallissey

Costume Makers Denise AssasMarie MurrayEsther O’Connor

Costume Assistants Catherine DenningSorcha Ní ChróinínYvette Picque Rachel Stout

Hair and Make-Up Assistant Niamh Lawless

Site Manager Frank Commins

Chief Electrician Paul Kelly

Master Carpenter Gus Dewar

Carpenters Simon KennedyKeith Newman

Lighting Programmer Susan Collins

Production Sound Frankie Pollard

Technicians Richard CurwoodShannon Light

Scenic Artist Rachel Towey

ScenicMatthew Guinnane

Stage CrewCathal ComminsGerry MallonPaul Murphy

Musicians Cora Venus Lunny (Strings)Kenneth Edge (Woodwind)

Filming and Post-Production Facilities StationHouse Media

Vision Mixer James Ryan

Recording Technician Johnathan Connolly

Camera Operators Colm HoganMartin NeeDavid QualterAlex Wulf

Production Assistant Aaron Gannon

Rehearsal and Production Photography Ste Murray

Graphic Design Gareth Jones

Publicity Bowe Communications

Irish Sign Language Interpreter Amanda Coogan

PRODUCTION TEAM

Liam H

eslin in rehearsals for The Seagull. P

hotograph: Ste M

urray.B

osco Hogan in rehearsals for The S

eagull. Photograph: S

te Murray.

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Druid gratefully acknowledges the support of many people who assisted with this production and all those who helped after the programme went to print.

This version of The Seagull was first performed at the Royal Court Theatre, London on 8 April 1981, directed by Max Stafford-Clark.Copyright agent: Alan Brodie Representation Ltd. www.alanbrodie.com

THANK YOU

Druid wishes a very happy retirement to James C. Harrold who has served Galway as Arts Officer for Galway City Council and Galway County Council for over 30 years.

‘James has worked tirelessly for arts and culture in Galway, his contribution cannot be overestimated. I know I speak for many when I say how grateful we all are for his support over the years.’Garry Hynes, Druid’s Artistic Director

JAMES C. HARROLD

Garry H

ynes in rehearsals for The Seagull. P

hotograph: Ste M

urray.

Niall O’Reilly and staff at Coole ParkNational Parks and Wildlife ServiceCillian, Sarah and staff at Coole Park TearoomsCue One LightingDr Barry Houlihan, NUIGAlisha FinnertyProf Patrick Lonergan, NUIGArts & Disability IrelandLeo and Clare HallisseyAnne Friel Lorcan MannionLeisure DomesTrevor PriceAtlantic AudioEventraxLiam AllenEvent PowerMike NestorEventusCaterentGPT Plant & Tool Hire

DH Farm Machinery

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ANTON CHEKHOV (1860–1904)

WRITER

Chekhov was born on 29 January 1860 in Taganrog, Russia. His grandfather had been a serf and his father a grocer. In 1868, Chekhov was sent to the Taganrog school for boys. His father declared bankruptcy in 1876 and the family moved to Moscow leaving Chekhov in Taganrog to finish his schooling. In 1879 Chekhov won a scholarship to study medicine at Moscow University. Under pseudonyms, he began writing comic sketches for popular magazines in order to support his family. During the mid 1880’s, Chekhov practised as a physician and began to publish works of fiction under his own name.

In 1888 he was awarded the Pushkin Prize for his collection of short stories In the Twilight. Chekhov wrote more than 200 stories including The Kiss (1887), The Steppe (1888), Ward No. 6 (1892), The Lady with the Dog (1899), In the Ravine (1900), and The Bishop (1902) on which his claim to pre-eminence in the genre rests. During the 1880s Chekhov began to write for theatre and in November 1887, Ivanov, his first full-length play to be staged, premiered in Moscow but received wildly mixed reviews. The

Seagull premiered at the state-run Aleksandrisky Theatre in St Petersburg in 1896 but received a famously hostile reception. Both the cast and the audience struggled to appreciate and understand Chekhov’s work which broke with theatrical conventions prevalent at the time in Russia. It was not until Chekhov began an association with Konstantin Stanislavsky and Vladimir Nemirovich-Danchenko’s Moscow Art Theatre that he achieved national success. The Moscow Art Theatre’s production of The Seagull in 1898 was quickly followed by premieres of Uncle Vanya (1899), Three Sisters (1901) and The Cherry Orchard (1904).

In 1896, Chekhov was diagnosed with tuberculosis. He married Olga Knipper, the Moscow Art Theatre’s lead actress, in 1901. He died in July 1904 in Badenweiler, Germany.

Other plays include: The Bear (1888), The Proposal (1889), The Wood Demon (1890).

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Photograph: Ste Murray.

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THOMAS KILROYWRITER

Thomas Kilroy was born in 1934 at Callan, County Kilkenny. He was educated by the Christian Brothers, St Kieran’s College and University College Dublin where he gained an education degree and went on to became a teacher and a headmaster. In 1965 he was appointed senior lecturer at UCD, lecturing on English, Anglo-Irish and 18th-century drama. He was also a visiting professor in various American universities. Between 1973 and 1979 he took a break from his university career after the success of his novel, The Big Chapel (1971, shortlisted for the Booker Prize and the Guardian Fiction Prize). He was then appointed professor at the National University of Ireland, Galway. He is a member of the Royal Society for Literature and of the Irish Academy of Letters. In March 2004 he received a lifetime achievement award at the Irish Times/ESB Irish Theatre Awards. He was recently made an Honorary Fellow of Trinity College, Dublin.

His other awards are: Heinneman Award for Literature, AIB Literary Prize, BBC Drama Prize, American-Irish Foundation Prize for Literature, Rockefeller Foundation Residency,

Kyoto University Foundation Award, and Prix Nikki Commendation (TV).

His plays include: The Death and Resurrection of Mr. Roche (Dublin Theatre Festival, 1968 and Hampstead Theatre, London); The O’Neill (Peacock Theatre, 1969); Tea and Sex and Shakespeare (Abbey Theatre, Dublin Theatre Festival, 1976); Talbot’s Box (Abbey Theatre, Dublin Theatre Festival, 1977 and Royal Court Theatre, London); Double Cross (Field Day Theatre, 1986 and Royal Court Theatre); The Madame MacAdam Travelling Theatre (Field Day Theatre, 1991 and Irish Repertory Theatre, New York); The Secret Fall of Constance Wilde (Guthrie Theatre, Minneapolis, 2008; Bite 2000 International Festival, Barbican Theatre, London; Melbourne International Festival, 1998; Abbey Theatre, 1997); The Shape of Metal (Abbey Theatre, Dublin, 2003 and Origin Theatre Co, New York, 2007). He has also done versions of Chekhov’s The Seagull (Royal Court Theatre, 1981); Ibsen’s Ghosts (Peacock Theatre, Dublin Theatre Festival, 1989); Pirandello’s Six Characters in Search of an Author (Abbey Theatre, 1996) and Henry IV

(Pittsburgh Irish and Classical Theatre, 2005).

His play Christ Deliver Us!, inspired by Wedekind, premiered at the Abbey Theatre, Dublin in 2010. In April 2011 a public reading of his play Blake was given by the Abbey Theatre Company at the Samuel Becket Theatre, Trinity College, Dublin. In 2016 he was awarded the Ulysses Medal of Dublin for his achievements in writing.

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GARRY HYNES DIRECTOR

Garry Hynes co-founded Druid in 1975 and has worked as its Artistic Director from 1975 to 1991 and from 1995 to date. From 1991 to 1994 she was Artistic Director of the Abbey Theatre, Dublin.

Garry has also worked with the Gate Theatre (Ireland); the Royal Shakespeare Company and the Royal Court (UK); Center Theatre Group, Second Stage, Signature Theater, Manhattan Theater Club, the Kennedy Center, the Mark Taper Forum and the Spoleto Festival (USA).

Awards include: The Joe A. Callaway Award (New York) for Outstanding Directing for The Cripple of Inishmaan (2009); a Tony Award for Direction for The Beauty Queen of Leenane (1998); Irish Times/ESB Irish Theatre Awards for Best Director for DruidShakespeare: Richard II, Henry IV (Pts 1&2), Henry V, The Beauty Queen of Leenane, Waiting for Godot and a Special Tribute Award in 2005 for her contribution to Irish Theatre. Garry has received Honorary Doctorates from University College Dublin, University of Dublin, the National University of Ireland and the National Council for Education Awards. She is an Honorary Fellow of the Royal College of Physicians in Ireland, and a member of the Honorary Council of the Royal Hibernian Academy (HRHA). In 2011, Garry was appointed Adjunct Professor of Drama and Theatre Studies at NUI Galway.

COLM HOGAN DIRECTOR OF PHOTOGRAPHY

Colm Hogan is a director of photography who has been working in the film and television industry for over 20 years. His work has taken him throughout Europe and the world.

Druid: Boland: Journey of a Poet.

Film and television credits include: Henry Glassie: Field Work, The Meeting, Foscadh, What We Leave in Our Wake, The Green Knight. Most recently, Colm has worked on the Apple TV series Foundation.

FRANCIS O’CONNOR SET AND COSTUME DESIGN

Francis is a regular collaborator with Garry Hynes and Druid. His designs for plays, musicals and opera have been seen in Ireland, the UK, throughout the US, Europe, and Asia and his work with the Gate Theatre (Ireland) has frequently been seen at Spoleto Festival.

Druid: Boland: Journey of a Poet, DruidGregory, The Cherry Orchard, The Beacon, Epiphany, DruidShakespeare: Richard III, Shelter, Furniture, Sive, King of the Castle, The Beauty Queen of Leenane, Waiting for Godot, Big Maggie, DruidShakespeare: Richard II, Henry IV (Pts 1&2), Henry V, Brigit, Bailegangaire, The Colleen Bawn, DruidMurphy – Plays by Tom Murphy, The Silver Tassie, The Gigli Concert, The Cripple of Inishmaan, Long Day’s Journey Into Night, Leaves, Empress of India, The Year of the Hiker, DruidSynge,

CREATIVE TEAM

GARRY HYNES COLM HOGAN FRANCIS O’CONNOR

JAMES F. INGALLS GREGORY CLARKE CONOR LINEHAN

GRÁINNE COUGHLAN CLÍODHNA HALLISSEY SARAH BAXTER

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The Well of the Saints, The Tinker’s Wedding, Sharon’s Grave, Sive, The Good Father, My Brilliant Divorce, The Lonesome West, A Skull in Connemara, The Leenane Trilogy, The Country Boy, The Way You Look Tonight, Shadow and Substance, Wild Harvest.

Awards include: Five Irish Times Irish Theatre Awards, three for Best Design, two for Best Costume Design (with Doreen McKenna); Boston Critics Circle; Dora Mavor Moore Award; and a nomination for the Faust Prize, Germany.

JAMES F. INGALLS LIGHTING DESIGN

James trained at the Yale School of Drama and the University of Connecticut. He often collaborates with the Wooden Floor dancers, Santa Ana, California. Druid: The Cherry Orchard, The Beacon, DruidShakespeare: Richard III, Sive, King of the Castle, The Beauty Queen of Leenane, Waiting for Godot, DruidShakespeare: Richard II, Henry IV (Pts 1&2), Henry V. Designs for other theatre include: Pale Sister (Gate Theatre); Ghosts (Williamston Theatre Festival). Designs for opera include: Idomeneo and La Clemenza di Tito (Salzburger Festspiele); world premieres by John Adams including Girls of the Golden West, Doctor Atomic and Nixon in China; world premieres by Kaija Saariaho including Only the Sound Remains, Adriana Mater, and L’Amour de Loin, all directed by Peter Sellars; Il Farnace and Kat’a Kabanova,

both directed by Garry Hynes at Spoleto Festival, USA. Designs for dance include: The Firebird (Miami City Ballet); Unbound (San Francisco Ballet’s New Works Festival); several pieces for Paul Taylor’s American Modern Dance; many pieces for Mark Morris Dance Group including Layla and Majnun, Mozart Dances, The Hard Nut and L’Allegro, il Penseroso ed il Moderato; and Twyla Tharp’s 50th Anniversary US Tour.

GREGORY CLARKE SOUND DESIGN

Druid: The Cherry Orchard, The Beacon, DruidShakespeare: Richard III, Shelter, Furniture, Sive, King of the Castle, The Beauty Queen of Leenane, Waiting for Godot, DruidShakespeare: Richard II, Henry IV (Pts 1&2), Henry V, Brigit, Bailegangaire, Penelope, The New Electric Ballroom, The Hackney Office.

Other theatre credits include: The Twits, The Ritual Slaughter of Gorge Mastromas (Royal Court); Misterman (Galway International Arts Festival/Landmark Productions); Medea, The Doctor’s Dilemma, Twelfth Night, No Man’s Land, Tristan & Yseult, The Emperor Jones, Earthquakes in London (National Theatre, London); The Merchant Of Venice, Cloud Nine (Almeida); All’s Well That Ends Well, The Heart of Robin Hood, Great Expectations, Coriolanus, The Merry Wives of Windsor, Tantalus, Cymbeline, A Midsummer Night’s Dream (Royal Shakespeare Company).

London West End credits include: My Night With Reg, Goodnight Mr. Tom, The Vortex, A Voyage Around My Father, And Then There Were None, Some Girls, Waiting for Godot, What The Butler Saw, Journey’s End, Equus.

Awards include: Tony Award® Best Sound Design (Equus), Drama Desk Award (Journey’s End).

CONOR LINEHAN MUSIC

Conor is a pianist, composer and teacher from Dublin. He is on the piano faculty of the Royal Irish Academy of Music where he also teaches courses in improvisation and is currently pursuing a Doctorate in Perfomance in association with Trinity College Dublin.

Druid: Boland: Journey of a Poet, DruidGregory, The Cherry Orchard, Epiphany, DruidShakespeare: Richard III, Sive, DruidShakespeare: Richard II, Henry IV (Pts 1&2), Henry V.

Other theatre credits include: The Patient Woman (INO 20 Shots of Opera); The Great Hunger (Abbey Theatre); Woyzeck in Winter (Landmark Productions/Galway International Arts Festival); Dublin by Lamplight (Corn Exchange/Abbey Theatre); The Wolf and Peter (CoisCéim); productions with the Abbey and Peacock theatres; the Gate Theatre, Dublin; the Lyric, Belfast; the Royal Shakespeare Company; the Gate Theatre; the National Theatre, London; Liverpool Playhouse; Hampstead Theatre; Siren Productions, Dublin.

Awards include: Irish Times Irish Theatre Award, Best Sound Design (with Ben Delaney); Irish Times Irish Theatre Judges’ Special Award nomination for ‘setting the standard of theatre composition’; PlayShakespeare website’s Falstaff Award, Best Score Worldwide.

GRÁINNE COUGHLAN HAIR AND MAKE-UP

Grainne studied fine art and painting after leaving school but was always passionate about the art of make-up. When the opportunity arose, she returned to study and completed a diploma in film and media make-up. Thus began her career in television, film and theatre.

Druid: Boland: Journey of a Poet, Once Upon a Bridge.

Film and television credits include: Mary Coughlan at the Town Hall Theatre, Mary Coughlan: Keys to Your Life, Vanilla (RTÉ); Creative Hearts, The Mighty Ocean (TG4), I Am Patrick (Netflix).

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CLÍODHNA HALLISSEY ASSOCIATE COSTUME DESIGNER

A recent graduate of the BA in Drama, Theatre and Performance Studies and English at NUI Galway, Clíodhna was the 2019/2020 recipient of Druid’s Marie Mullen Bursary for female theatre artists working in the fields of design, directing, and dramaturgy.

Druid: Clíodhna was Costume Designer for Boland: Journey of a Poet and Once Upon a Bridge, Costume Supervisor for DruidGregory, Costume Designer for On the Outside as part of DruidGregory, Assistant Costume Designer and Dresser for The Cherry Orchard, and Costume Dresser for DruidShakespeare: Richard III at the Abbey Theatre, Dublin.

Other theatre credits include: Costume Designer for Ar Ais Arís (Brú Theatre/Galway 2020 and GIAF 2021); An Dara Réalt, Yummy Mummy (An Taibhdhearc); Aisling? (Ealaín na Gaeltachta); BAOITE (An Taibhdhearc/Abbey Theatre); Costume Assistant and Dresser for Grief is The Thing With Feathers (Landmark Productions); The Country Girls (Abbey Theatre). Film and television credits include: Costume Designer for Living With a Fairy 2; Costume Assistant for Mr. Mender and The Chummyjiggers; Costume Trainee for Wild Mountain Thyme.

SARAH BAXTER ASSISTANT DIRECTOR

Sarah was a recipient of the Marie Mullen Bursary in 2020/2021, an award for female theatre artists working in the fields of design, directing and dramaturgy. She was a member of Irish National Opera’s ABL Opera Studio 2018-2020 and trained at London International School of Performing Arts (LISPA). She is a member of the artist collective White Label.

Druid: DruidGregory.

Director credits include: These Stupid Things, Taboo (White Label); The Roaring Banshees, The Hellfire Squad, Vehicle (Devious Theatre); Personal Space Vol II (Smock Alley); 24HourPlaysDublin 2018 (Dublin Youth Theatre); Dubliners Women (Witchwork Theatre Company); To Space (Niamh Shaw).

Director and co-creator credits: It’s getting harder and harder for me and Jellyfish with Alice Malseed (Dublin Fringe 2015, 2017); Diary of a Martian Beekeeper with Niamh Shaw.

Marty R

ea in rehearsals for The Seagull. P

hotograph: Ste M

urray.

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CAST

BRIAN DOHERTY JACK GLEESON LIAM HESLIN JOHN OLOHAN MARTY REA EILEEN WALSH

BOSCO HOGAN BLÁITHÍN MACGABHANN MARIE MULLEN JOHN MCHUGH MARY MCHUGH PETER SHINE

AGNES O’CASEY John Olohan in rehearsals for The Seagull. Photograph: Ste Murray. Eileen Walsh in rehearsals for The Seagull. Photograph: Ste Murray.

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BRIAN DOHERTY DR HICKEY

Druid: Sive, DruidMurphy – Plays by Tom Murphy.

Other theatre credits include: Common, Aristocrats (National Theatre); Antony and Cleopatra, The Winter’s Tale, Julius Caesar, King Lear, Little Eagles, The Drunks, Ahasverus, Macbeth, God in Ruins and Great Expectations (Royal Shakespeare Company); The Wake, Three Sisters, Down the Line, Translations and Tarry Flynn (Abbey Theatre); Hecuba, Pentecost, Improbable Frequency and Boomtown (Rough Magic); Evening Train (Everyman Cork); The Father, From Here To Eternity, Stones in his Pockets (West End); Tomcat for Papatango (Southwark Playhouse); Death of a Comedian (Soho Theatre); A Steady Rain (Theatre Royal Bath); Narratives (Royal Court); The Red Iron, Happy Birthday Dear Alice, The Crucible, Talbot’s Box (Red Kettle); STUDS (Passion Machine); Emma (Storytellers); Amphibians (Tin Drum); Car Show (Love Me) (Corn Exchange).

Film and television credits include:Dream Horse, Resistance, Trigonometry, Witless, Women on the Verge, Call the Midwife, Casualty, Law & Order, Raw, Pure Mule, Fair City, Doctors, The Clinic, Glenroe, A Street Cat Named Bob, Perrier’s Bounty and Garage.

Awards include: Irish Times Irish Theatre Awards, Best Actor (Hecuba and The Red Iron).

JACK GLEESON CONSTANTINE

Druid: The Seagull marks Jack’s debut with the company.

Other theatre credits include: To Be a Machine (Dead Centre); Bears in Space, Monster/Clock (Collapsing Horse); Great Expectations (Gate Theatre).

Film and television credits include: Out of Her Mind (BBC); Game of Thrones (HBO); Batman Begins (Warner Bros.).

LIAM HESLIN JAMES

Druid: DruidGregory.

Other theatre credits include: 14 Voices from the Bloodied Field (Abbey Theatre); Asking For It (Landmark Productions); A Skull in Connemara (Oldham Coliseum); Zero Hour, Pals: The Irish at Gallipoli (ANU Productions); The Lost O’ Casey (Abbey Theatre/ANU Productions); The Shaughraun (Smock Alley Theatre); The Plough and the Stars (Lyric Hammersmith/Gaiety Theatre); The Good Father (Rise Productions); The Plough and the Stars (Abbey Theatre); On Corporation Street (ANU Productions/Home Manchester); King Lear (Second Age Theatre Company); East of Berlin (Brinkmanship/Project Arts Centre); A Boy Called Nedd (Bitter Like a Lemon/Theatre Upstairs); Borstal Boy (Verdant Productions).

Film and television credits include: Dublin Oldschool, The Island of Evenings, Kaleidoscope, Fair City.

BOSCO HOGAN PETER

Druid: DruidShakespeare: Richard III, Sive, King of the Castle, DruidShakespeare: Richard II, Henry IV (Pts 1&2), Henry V, Brigit.

Other theatre credits include: One Good Turn, Jimmy’s Hall, Observe the Sons of Ulster Marching Towards the Somme, Aristocrats, The House, The Resistable Rise of Arturo Ui (Abbey Theatre); The Importance of Being Earnest, A View from the Bridge, Wuthering Heights, My Cousin Rachel, The Threepenny Opera, A Streetcar Named Desire, An Enemy of the People (Gate Theatre).

Film and television credits include: The Last Duel, Valhalla, Miss Scarlett and The Duke, Mirage, Citizen Lane, We Have Always Lived in the Castle, Vikings, The Flag, Trial of the Century, The Inquiry, The Borgias.

BLÁITHÍN MACGABHANN MARY

Druid: The Seagull marks Bláithín’s debut with the company.

Other theatre credits include: Our New Girl (Gate Theatre); Citysong (Abbey Theatre).

Film and television credits include: The Way Out, Penance, Normal People.

MARIE MULLEN PAULINE

Druid: Marie co-founded Druid in 1975 and has appeared in numerous productions including DruidGregory, DruidShakespeare: Richard III, Sive, Brigit, Bailegangaire, DruidShakespeare: Richard II, Henry IV (Pts 1&2), Henry V, The Colleen Bawn, DruidMurphy – Plays by Tom Murphy, The Cripple of Inishmaan, Long Day’s Journey Into Night, DruidSynge, The Beauty Queen of Leenane, The Playboy of the Western World.

Other theatre credits include: The Children, Crestfall (Gate Theatre); Testament (Landmark Productions/Dublin Theatre Festival); The Man Who Came To Dinner, King Lear, The Man of Mode (RSC); The Last Days of a Reluctant Tyrant, The Power of Darkness, On Raftery’s Hill, Big Maggie (Abbey Theatre).

Film and television credits include: Dorothy Mills, When Brendan met Trudy, Dancing at Lughnasa, Circle of Friends.

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Awards include: 1998 Tony Award, Best Actress (The Beauty Queen of Leenane); Irish Times Irish Theatre Awards, Lifetime Achievement Award, Best Actress, Best Supporting Actress; Obie, Best Actress Award.

AGNES O’CASEY LILY

Druid: The Seagull marks Agnes’ professional theatre debut.

Film and television credits include: Ridley Road (BBC); Dangerous Liaisons (Lionsgate).

JOHN OLOHAN COUSIN GREGORY

Druid: The Cherry Orchard, DruidShakespeare: Richard III, King of the Castle, DruidShakespeare: Richard II, Henry IV (Pts 1&2), Henry V, Big Maggie, The Colleen Bawn, DruidMurphy – Plays by Tom Murphy, The Silver Tassie, The Playboy of the Western World. Other theatre credits include: Da, Tarry Flynn, The Death and Resurrection of Mr. Roche, Sive, A Midsummer Night’s Dream, The House, Dancing at Lughnasa, The Silver Dollar Boys, At Swim Two Birds, The Duty Master, The Muesli Belt, A Little Like Paradise, Savoy, The Remains of Maisie Duggan (Abbey Theatre); The Threepenny Opera, Aristocrats, Sharon’s Grave, Rough for Theatre I&II, A Christmas Carol (Gate Theatre); Macbeth, Romeo and Juliet, Philadelphia, Here I come!, Hamlet (Second Age Theatre Co.); The Lieutenant

of Inishmore, The Lonesome West, (Town Hall Theatre Galway); Translations (Oroboros); Ride On (Livin’ Dred); A Skull in Connemara (Decadent Theatre); Fings Ain’t Wot They Used T’be (Theatre Royal Stratford East); The Chastitute (Gaiety Theatre). Film and television credits include: The Country Girls, Rawhead Rex, War of the Buttons, The Butcher Boy, The Clinic, Single Handed, Amongst Women, Father Ted, Glenroe, Trial of the Century. Awards include: Irish Times Irish Theatre Award, Best Supporting Actor (Big Maggie).

MARTY REA MR ASTON

Druid: DruidGregory, The Cherry Orchard, The Beacon, Epiphany, DruidShakespeare: Richard III, King of the Castle, The Beauty Queen of Leenane, Waiting for Godot, DruidShakespeare: Richard II, Henry IV (Pts 1&2), Henry V, Brigit, Be Infants In Evil, The Colleen Bawn, DruidMurphy – Plays by Tom Murphy.

Other theatre credits include: Happy Days (Landmark); Tiny Plays for Ireland (Fishamble); The Gifts You Gave to the Dark (Irish Rep NY); The Glass Menagerie, Beginning, The Great Gatsby, Juno and the Paycock, The Importance of Being Earnest, The Caretaker, An Ideal Husband, My Cousin Rachel, Little Women, Hay Fever, Salomé, Arcadia (Gate Theatre); 14 Voices From the Bloodied Field, Dear Ireland (an unreliable ex-lover suddenly writes), Thirst (and other bits of Flann), Othello,

She Stoops To Conquer, The Hanging Gardens, Major Barbara, John Gabriel Borkman, The Rivals, Only An Apple, The Big House, Saved, The Importance of Being Earnest (Abbey Theatre); Hamlet (Second Age).

Film and television credits include: Strays (Arcade Film); Prisoners of the Moon (Bandit Films); Citizen Lane, Barbarians Rising! (October Films); The Devil’s Pool (Vico Films); The Man Inside (Broken Pictures Ltd.).

Awards include: Irish Times Theatre Awards, Best Actor (Hamlet); Irish Times Theatre Awards, Best Actor (DruidShakespeare); Irish Times Theatre Awards, Best Supporting Actor (King of the Castle and The Great Gatsby); Herald Angel Award, Edinburgh Festival (Waiting for Godot).

EILEEN WALSH ISOBEL DESMOND

Druid: DruidMurphy – Plays by Tom Murphy, The Gigli Concert.

Other theatre credits include: Medea, Beginning, Crestfall (Gate Theatre, Dublin); The Plough and the Stars, Macbeth, Terminus, The Playboy of the Western World, Saved, Portia Coughlan, Ariel (Abbey Theatre); The Same, Request Programme, The Merchant of Venice, Disco Pigs (Corcadorca); Lippy (Dead Centre/Young Vic); Medea (Siren Productions); Danti Dan (Rough Magic); Aristocrats (Donmar Warehouse); The Unknown, The Internet is a Serious Business, Crave (Royal Court Theatre); Absolute Hell,

Broad Shadow, Liolà (National Theatre, London); Little Eyolf (Almeida); The Drowned World, Quiz Show (Traverse Theatre); The Believers (Frantic Assembly).

Film and television credits include: Modern Love (Amazon); Wolf (Wildcat); The South Westerlies, On the Hemline, Can’t Cope Won’t Cope, Pure Mule (RTÉ); Made In Italy, Melrose, Delicious (Sky Atlantic); Catastrophe (Avalon/Channel 4); Women on the Verge (Merman/RTÉ); Rialto, Maze, The Children Act, Morning, Eden, How Was Your Day?, Gold, Snap, The Ballad of Kid Kanturk, Triage, The Magdalene Sisters, The Van.

Awards include: Irish Times Irish Theatre Awards, Best Actress (Terminus); Irish Times Irish Theatre Awards, Best Actress (The Same); Tribeca Film Festival, Best Actress (Eden); Irish Film and Television Awards, Best Actress (Eden).

JOHN MCHUGH COOK

A native of Headford, John began acting in 1970 in St Mary’s College with Ray McBride (Druid) and joined the Headford Drama Group in 1974. In 1989 he became a founding member of Pegasus Theatre Company and has just recently set up Headford Community Theatre to revive theatre in his local area.

Druid: The Seagull marks John’s debut with the company.

Other theatre credits include: The Field, Mick and Mick, The Year of the Hiker, The Rain Maker, I Do Not Like Thee Dr.

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Fell, Happy as Larry, The Playboy of the Western World (Headford Drama Group); Sive, Macbeth, Brothers of the Brush, Amadeus, Le Médicin Malgré Lui, Dancing at Lughnasa, Run for your Wife, Lend Me a Tenor, A Bed Full of Foreigners (Pegasus Theatre Company); Madame MacAdam Travelling Theatre (Field Day Theatre Company). Film credits include: Bloodfist 8 Trained to Kill, Spectre (Corman Films); Angela Mooney Dies Again (Merlin Films).

Awards include: All Ireland Drama Festival, Best Actor (Joe Fell); International Theatre Festivals, Best Actor (Joe Fell), Best Actor (The Last Burning), Best Supporting Actor (The Playboy of the Western World).

MARY MCHUGH MAID

Based in Headford, County Galway, Mary trained with Galway Actors Workshop, Galway Community Theatre and Core Theatre College.

Druid: The Cherry Orchard.

Other theatre credits include: The Thing about December, Doubt, Tribes Alive (Decadent); Wit, Juno and the Paycock, The Adventures of Shay Mouse, Frank Pig Says Hello, Tarry Flynn (Galway Community Theatre); Cafe Poetry (Anam Theatre Company); Under Milk Wood (Galway Actors Workshop); The Tale of Galway, Da (Town Hall Theatre, Galway); Measure for Measure, The Duchess of Malfi, (Theatrecorp); The Mai (Mephisto Theatre

Company); The Loves of Cass McGuire, (KATS); Sive (Pegasus); The Playboy of the Western World (GB Shaw/Abbey Theatre).

Film and television credits include: The Presence, Fare is Fair, Angela Mooney Dies Again, Jack Taylor.

PETER SHINE JACK

Originally from Roscommon, now based in Galway, Peter is a graduate of the BA Arts with Theatre and Performance at NUI Galway.

Druid: The Cherry Orchard.

Other theatre credits include: Cross Street, You Could Be Us, Tape, Pleasure Ground (Fregoli Theatre Company); The Thing about December, The Weir, The Pillowman, Vernon God Little (Decadent Theatre Company); The Irish Play (Jokerthief Theatre Company); Wit, Midsummer, The Dead School, The Adventures of Shay Mouse (Galway Youth Theatre); Juno and the Paycock (Galway Community Theatre/Town Hall Theatre, Galway); The Shadow of Carmilla, No Way Out, The Merchant of Venice (ThereisBear! Theatre Company); At The Black Pig’s Dyke (MayFly Theatre Company); This Lime Tree Bower (Nyx Theatre Company) Macbeth, Twelfth Night (NUIG Dramsoc).

Film and television credits include: Apparent Power, Up, Up and Away!, Hooked, Sooner or Later, Wilde Night Out.

Marie M

ullen in rehearsals for The Seagull. P

hotograph: Ste M

urray.

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DRUID AT HOME

The SeagullSeptember 2021TICKETS ON SALE NOW

Exclusively for Galway International Arts Festival 2021, Druid will film the outdoor production in August and present it online for audiences all over the world to enjoy on demand in September

Druid Debuts 2021 June – July 2021 Our annual rehearsed reading series of new plays, presented online for the second year in a row

Coole Park Poetry Series 2021 May 2021 onwards AVAILABLE NOW, FREE TO VIEW

A second edition of our poetry film series, celebrating some of the great Irish poets of the last century

Boland: Journey of a Poet April – May 2021 The story of Eavan Boland’s life as she told it, through her own poetry and autobiographical prose

The Cherry Orchard March 2021 An encore online screening of our 2020 production which had previously been screened to audiences in cinemas across Ireland and the UK

Once Upon a Bridge February 2021 Sonya Kelly’s critically acclaimed play about the fateful collision of two strangers on Putney Bridge, London

Coole Park Poetry Series 2020 December 2020 onwards AVAILABLE NOW, FREE TO VIEW Our first series of poetry films filmed in Coole Park in partnership with the Adrian Brinkerhoff Poetry Foundation

Druid Debuts 2020 July 2020 Our annual rehearsed reading series of new plays, presented online for the first time

DruidSynge March 2020 onwards AVAILABLE NOW, FREE TO VIEW In partnership with Wildfire Films, the celebrated 2005 production of Synge’s entire theatrical canon available free to view online

DRUID STAFFFoundersGarry Hynes

Mick Lally (1945–2010)

Marie Mullen

Druid StaffWarehouse Manager* Frank Commins

Office Manager Niamh Dolan

Financial Controller* Brian Duffy

ProducerBrian Fenton

Company Manager Jean Hally

Executive Director Feargal Hynes

Artistic Director Garry Hynes

Development & Marketing John McEvoy

Marketing & Communications LeadDavid Mullane

Venue Manager Síomha Nee

Financial Administrator Lisa Nolan

Production Manager Barry O’Brien

BoardTom Joyce (chairman)

Anne Anderson

Helen Ryan

Cilian Fennell

Padraic Ferry

Mary Apied

Seán O’Rourke

Bernadette Murtagh

(company secretary)

Druid Ensemble Derbhle Crotty

Garrett Lombard

Aaron Monaghan

Marie Mullen

Rory Nolan

Aisling O’Sullivan

Marty Rea

The Druid Ensemble is a core group of freelance actors who work closely with Druid to shape the future direction of the company’s work.

*part time position

Behind the scenes of Once Upon a Bridge by Sonya Kelly. Photograph: Emilija Jefremova.

In line with our vision of Irish Performance for the World, Druid at Home is a new way of connecting to audiences worldwide, presenting our work on the digital stage. Since March 2020, we have reached audiences in 130 countries with our ticketed and free-to-view Druid at Home productions.

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DRUID SUPPORTERS DRUID FRIENDSDruid is a registered charity and we rely on the philanthropy and generous support of the public to continue making work that is acclaimed the world over. Whether you are a philanthropic organisation, a business or Druid enthusiast, we invite you to look over our Supporter initiatives and sign up with us today.

Please visit druid.ie/support or contact john.mcevoy@druid.ie for further information.

TRANSFORMATIONAL PARTNERS Loretta Brennan GlucksmanPaul KearyJoseph M HassettKumi & Bill MartinLori & Jim SteinbergGrainne McNamaraThomas Campbell Jackson & Penny JacksonMark Kennedy & Eilín de PaorCielinski FamilyAnn ShannonNigel ReddenAnne Anderson & Franklin Lowe

PLATINUM FRIENDSMairéad & Frank CashmanRichard & Jennie DeSchererCathal Goan & Maighread Ni DhomhnaillLouise Furey-Burke Joe GormleyDebra & Alan RosenbergBride RosneyHelen RyanJack & Linda Viertel

GOLDEN TICKET FRIENDSMary ApiedRebecca & Tom BartlettCecelia BeirneHenry BourkeMichael J BurkeMary FinanPaul & Mary GilsonGarry HynesSéamus Mac MathunaJohn & Anne MarshallElizabeth McConnellMary Raftery Mitchell RIPDonncha O’ConnellD.M. O’Connor & Co.Miriam & Seamus SheridanGuillermo Suescum & Melanie Hughes

SILVER SPOON FRIENDSKim & David AdlerMalcolm ByrneDenise & Pádraig CusackBrendan DalyNicola de FaoiteDorothea FinanSean & Ailbhe HughesAedhmar Hynes & Kelvin ThompsonAlma HynesKatrina IrvingKevin JenningsJoan KingPatrick LonerganSandra MathewsÚna McKeeverMichael McMullin & Lys BrowneMurtagh and Co. AccountantsDavid NilandBrigid O’Connell John O'ConorRiana O'DwyerCliona O'FarrellyMaeve Robinson & Gary MathewsMargaret Ruttledge & Seán DoyleKarl & Mary VerbruggenWildfire Films

BRONZE MEDAL FRIENDSMary G AndrewsStandish BarryKatherine BeugOlive BraidenFred BrennanLouise BroganAnn BrophyMary A. BurkeEileen CallananMary Cannon & David CotterBríd ConneelyAlan CossPatricia Costelloe Helen CullenMary DalyMary and Dr Frank D'ArcyPatricia D'ArcyBrian DarcySean DenyerCharles Dixon

Dennis DoughertyPatricia DoyleJacinta DwyerNicola EustaceSorcha FahyEimear FarrellPaula & John FentonDan FlinterJim FlynnKathryn GreenspanAndrew HaggertyMary HarneyMary Hawkes-GreeneBernadette HealyFeargal HynesFlorence Irwin Jordan KatzUna KealyPeter KearnsMarie KeeganFionnuala KennedyJack & Maureen KissaneDamian LaneNoelle LynskeyKieran LyonsBernadette MaddenAnn McDermottDr Paddy McKiernanPatJoe McLoughlinMoyra McMahonAnne McQuillanAine NevilleNóirín Ní NuadháinClodagh O'ByrneGrainne O'CallaghanAnnette O'ConnorJulia O'ConnorJohn O'DeaEoin & Niamh Ó'DochartaighBarry O'MahonyDorothy & Seamus RobinsonRoisin RyanLeo SmythKevin StewartAdrian Taheny

Thanks also to all our supporters who wish to remain anonymous and to all those who made one-off donations.

Thank You to all our Supporters – your generosity is invaluable and we thank you for the part you play. Through your support, you enable us to create more work of a world class standard and to plan for future productions.

FUNDING PARTNERS

PROGRAMME PARTNERS

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CORPORATE PATRONS

BUSINESS LEADERS

BUSINESS PARTNERS

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BECOME A FRIEND

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See what we can do together

As a registered charity, we rely on the generous support of our patrons, friends and partners to continue making bold new theatre and investing in future projects.

Become a Druid friend and help us continue making work that is acclaimed the world over.

For further details: www.druid.ie/support/support-us

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DruidFlood Street, Galway, Ireland

+353 91 568 660 | www.druid.ie

@druidtheatre