Resilience & Renewal Theatre Forum Annual Conference 17 & 18 June 2010
Resilience & Renewal Theatre Forum Annual Conference 17 & 18 June 2010
Theatre Forum 15 Bachelor’s Walk Dublin 1 P: 01 874 6582 E: theatreforum@ireland.com W: www.theatreforumireland.com
Clockwise from top left: Next Stage 2009, Annual Conference 2009, MAKE 2010, Open Space 2009, Tania Banotti winning Judges Special Award at the Irish Times Theatre Awards for “her leadership of the National Campaign for the Arts,� and current and former Theatre Forum Board Members from left to right: Chair Fergal McGrath, Anne Clarke, Una Carmody and Loughlin Deegan
Theatre Forum Theatre Forum is the voice of the performing arts in Ireland. Counting theatres and arts centres around the country; professional theatre, dance, opera and street arts / spectacle production companies; and the main arts festivals among its membership, Theatre Forum acts on behalf of these members with government, state and semi-state agencies and elected representatives. We research and disseminate information on various topics. We are the exclusive providers of research on audience benchmarking, pay and conditions in the industry and funding trends (both local and national). Theatre Forum organises training and professional development courses and seminars throughout the year. Flagship courses include The Next Stage in collaboration with Ulster Bank Dublin Theatre Festival and MAKE in collaboration with Cork Midsummer Festival, Dublin Fringe Festival and
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Project Arts Centre. We also organise a number of topical and networking events each year. Via our website, www.theatreforumireland.com, Theatre Forum provides invaluable resources to the performing arts sector, including factsheets and model contracts, an opening night clash diary, an industry employment page, a barter page, members' notice board and much more. In every way we can, Theatre Forum endeavours to support and drive the diverse sector it represents. Thank you for your membership, which makes all of this possible.
In Ireland, the recession is more severe than for many, the dependence on subsidy greater, and the battle for public subsidy tougher. Theatres are suffering the multiple impacts of the recession on audience behaviour and on state funding. The National Campaign for the Arts fought and won hearts and minds and restricted the cuts but the grants available for theatre this year are down 18% on last year. There have been severe cuts for some companies and the future remains uncertain.
Resilience & Renewal How do we ensure that 21st century Irish theatre is really relevant to society, engaging our diverse communities and playing its full role in the national conversation? What sort of business models will work for us now that there is less public money? How do we sustain ourselves, our artists and a healthy ecology? Will uncertainty inspire creativity? Will it hurt? And, having made the arguments this time round, how do we make 21st century arguments for theatre that will stick? These are some of the questions we will be asking ourselves in this year’s Theatre Forum Conference. Theatre across the western world is in the midst of one of the most challenging times in its history. In the midst of the digital revolution, theatre faces new competition from digital media which is enabling a massive increase in new opportunities for people to consume and participate interactively. Theatre faces the challenges of its core business model which depends on the live, real time event, the congregating of audiences in a room and the art and craft of many players, making it less economical and less environmentally friendly than other leisure and cultural pursuits. These challenges to theatre are happening across the world. At the same time, there are clear signs that theatre is here to stay and that audiences crave the communal experience of the live event, perhaps more than ever.
What is certain is that the theatre ecology in Ireland will need to adapt to the new climate. It needs to find new ways of resourcing itself and new ways of doing things which will allow it to play its vital role in the cultural, social and economic life of Ireland. This journey won’t be pain free. The Theatre Forum conference creates a space in which to consider what might be modified in support of a healthier sector, to take a very practical look at what works elsewhere and what could be applied in Ireland. At the same time, the conference will reflect on the core value of theatre and its particular political and cultural potency for 21st century Ireland. We will also consider the new international language of the creative economy and what that offers the theatre community. The conference title is Resilience and Renewal: resilience means the ability to spring back after bending, stretching or being compressed and renewal means giving fresh life and strength. Bend a little, stretch a little and enjoy.
Anne Bonnar Conference Curator
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THURSday 17 June Time
Activity / Session
Location / Notes
12:00 – 14:00
Registration & Lunch
Main foyer & Jerome Hynes Theatre
Tours of the Opera House
Register for your tour of the Opera House in the main foyer
14:00 – 15:30
Theatre’s Political Potency in 21st Century The View from Other Small Nations Speakers: Stefán Jónsson, Catherine Paskell, Carys Shannon Chair: Patrick Lonergan
O’Reilly Theatre
15:30 – 16:00
Tea, Coffee & Cake
Main foyer
16:00 – 17:15
A More Sustainable Theatre Economy for Ireland Speakers: Anne Clarke, Camilla Holland Chair: Mike Adamson
O’Reilly Theatre
17:30 - 18.30
Flourishing under Fire Dr. Maureen Gaffney, organisational psychologist
O’Reilly Theatre
18:30 – 19:30
Theatre Forum AGM & Board Elections (For Theatre Forum Members only)
O’Reilly Theatre
19.45 – late
Dinner & Entertainment Dancing ‘til late, music & visuals provided by theatre makers
Whites Hotel
Please use #TFConf when tweeting at the conference Plenary event in O’Reilly Theatre Parallel sessions 4
FRIday 18 June Time
Activity / Session
Location / Notes
09:00 – 11:30
Tea, Coffee & Scones will be served all morning
Main foyer
09:00 – 10:00
Morning Parallel sessions Delegates have a choice of 3 sessions as follows: Next Generation Interviews Tom Hickey Veteran Actor Tom Hickey interviewed by Grace Dyas of THEATREclub 2009 Audience Benchmarking Research Heather Maitland will present the results of the 2009 Theatre Forum Audience Benchmarking Research Digital Technology's Impact on Theatre Marcus Romer will share his passion for the opportunities of the digital age of theatre
Green Room
O’Reilly Theatre
Jerome Hynes Theatre
10:15 – 11:15
A New Relationship Between Theatre and the Public – Do We Need One? Speakers: Dick Penny, Tassos Stevens, Ray Yeates Chair: Willie White
O’Reilly Theatre
11:30 – 12:30
Future Proofing Theatre Speaker: Paul Collard with Anne Looney
O’Reilly Theatre
12:30 – 13:30
Lunch
Jerome Hynes Theatre
13:30 – 14:30
Learning the New Language – The Creative Economy Speaker: Dr. Tom Fleming Chair: Finbarr Bradley
O’Reilly Theatre
14:30 – 16:00
Morning Parallel sessions Delegates have a choice of 4 sessions as follows:
16:00 – 16:30
21st Century Story Telling Speakers: Una McKevitt, Paul Meade, Tassos Stevens Chair: Róise Goan
Founders Room
Is the Arts Council Model Fit for Purpose? Debated by David Parnell and Anne Bonnar Chair: Loughlin Deegan
O’Reilly Theatre Stage
Focus on Targeting Audiences Speakers: Una Carmody and Neasa Cunniffe
Festival Room
Chewing the Fat An opportunity to debate a hot topic which emerges during the conference
Green Room
Closing Session & Open Mic
O’Reilly Theatre
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THURsday 17 June Main foyer & Jerome Hynes Theatre 12:00 – 14:00
Registration & Lunch
O’Reilly Theatre 14:00 – 15:30
Theatre’s Political Potency in 21st Century The View from Other Small Nations
Speakers: Stefán Jónsson, Catherine Paskell, Carys Shannon
Subsidy for theatre in Ireland and most of Europe is only 100 years old but, as public funding becomes increasingly pressurised, have the terms of the contract between state and theatre changed? In small European nations, there is a trend towards a higher recognition of the value culture has in expressing cultural identity. Does theatre in small nations have a unique role in its relationship with the state? Is it compromised in its ability to challenge the state? Or does its potency open the door for increased recognition and support?
Chair: Patrick Lonergan
Stefán Jónsson will share the experience of theatre in Iceland during the country’s extraordinary economic, political and climactic changes. We will also hear about National Theatre Wales, launched this year and described by the Arts Council of Wales as being “an important element in nationbuilding”.
Main foyer 15:30 – 16:00
Tea, Coffee & Cake
O’Reilly Theatre 16:00 - 17:15
A More Sustainable Theatre Economy for Ireland
Speakers: Anne Clarke, Camilla Holland Chair: Mike Adamson
Ireland’s current theatre economy is not sustainable, with its high dependence on public funding. How can we create a more balanced theatre ecology? With the recent opening of the Grand Canal Theatre, should we be looking at ways to create more commercial theatre? Toronto is a city where the thriving commercial and subsidised sectors have, on the surface, developed an interdependent theatre ecology. Camilla Holland of new writing theatre Tarragon recently chaired the Commercial Theatre Development Fund of The Toronto Alliance for the Performing Arts. She will share the Toronto experience. Anne Clarke produces large-scale commercially-funded work together with art-led productions that are underpinned by public subsidy. Chaired by Mike Adamson of Live Nation, operators of the Grand Canal Theatre, this session will explore the practice of producing in different theatre sectors as well as the framing of a city/state theatre economy.
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THURsday 17 June O’Reilly Theatre 17:15 – 18:15 Dr. Maureen Gaffney
Flourishing under Fire As individuals and organisations in the theatre community face profound changes for the future ways in which they can make work, international organisational psychologist Maureen Gaffney offers insight into how to deal with change. Dr. Gaffney’s presentation will focus on not just how to survive a much-changed environment, but how to flourish in the face of adversity – a new conception of personal, organisational and economic wellbeing. Setting the more ambitious goal of 'flourishing' reaps significant dividends at a personal, work team and organisational level, including higher productivity, customer satisfaction and lower staff turnover. She will examine the barriers to flourishing, including the systematic errors in our thinking when we think about the future that prevent us from effectively responding to change, and set out the principles for flourishing under fire.
O’Reilly Theatre 18:30 - 19:30
Theatre Forum AGM & Board Elections (For Theatre Forum Members only)
Whites Hotel From 19:45
Dinner & Entertainment Everyone is invited to come together at Whites Hotel for dinner followed by music (and visuals) provided by theatre makers Tom Creed, Lynnette Moran and Willie White.
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FRIday 18 June Main foyer 9:00 – 11:30
Tea, Coffee & Scones Refreshments will be served all morning
Morning Parallel Sessions/ 3 Options Green Room 9:00 - 10.00
Next Generation Interviews Tom Hickey It’s usually a matter of being in the right place at the right time, for new and younger actors, playwrights, directors and designers to meet and get to know great veterans. But there is a great enthusiasm for the next generation to meet experienced theatre artists. Of all the Irish theatre greats, members of Theatre Forum nominated and voted for the chance to interview Tom Hickey. Grace Dyas of THEATREclub will interview Tom, to learn more about his acting career from The Riordans and the Focus Theatre to his work as interpreter of Tom MacIntyre.
O'Reilly Theatre 9:00 - 10.00
2009 Audience Benchmarking Research So, just how resilient is the performing arts sector proving to be? Heather Maitland will present the results of the 2009 Theatre Forum Audience Benchmarking Research. This compares hard evidence about audience trends across almost 50 theatres, festivals and arts centres and is the only research of its kind in Ireland. Are we selling fewer tickets? Are audiences price resistant? Are they booking later? How effective are our websites and season brochures? Although times are tough, Heather says she has some good news for us all.
Jerome Hynes Theatre 9:00 - 10.00
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Digital Technology's Impact on Theatre twitter, live streaming, social networking. The advances in digital communication will revolutionise the way that theatres interact with audiences. In a fast moving world, this session will bring together the experience of conference participants in a forum where ideas and experiences can be shared. Marcus Romer of Pilot Theatre and director of Shift Happens will share his insights and passion for the opportunities of the digital age of theatre. We can talk about NT Live, National Theatre Wales’ digital media strategy, Bristol Watershed’s Extended Theatre, Coney’s digital developments and your own initiatives.
FRIday 18 June Morning Plenaries O’Reilly Theatre 10:15 - 11:15
A New Relationship Between Theatre and the Public – Do We Need One?
Speakers: Dick Penny, Tassos Stevens, Ray Yeates
For the last few centuries, audiences have mostly sat in rows in theatres, playing their part in the theatre experience as engaged spectators. As an ancient and popular art form, why should that change? Yet the pressures to change are manifold. Where public money is involved, there are questions about why theatre as a sector (as in other arts), fails to either increase or diversify its audiences. Is it because the form is not inclusive or engaging enough for the 21st century? As audiences are increasingly described as players, do we need a new relationship between theatre and the public? Collaboration versus Auteurship, Participation versus Excellence - are these false dichotomies?
Chair: Willie White
Three speakers advocate for their different styles in engaging the public in theatre. Tassos Stevens of Coney, where the audiences are players, Dick Penny, Chair of Bristol Old Vic and Director of Bristol Watershed and Ray Yeates, Director of Axis, the arts and community resource in Ballymun, will debate the need for change.
O’Reilly Theatre 11:30 - 12:30 Speaker: Paul Collard with Anne Looney
Future Proofing Theatre Future audiences are essential for theatre. Even more fundamentally, citizens need creative skills and the ability to engage with cultural experiences. Paul Collard is Chief Executive at Creativity, Culture and Education (CCE), the new organisation created to generate transformational cultural and creative programmes for children and young people across England. Paul shares the experience of Creative Partnerships, the flagship creative learning programme designed to develop the skills of young people across England, raising their aspirations and achievements. While opening up more opportunities for their futures, it supports thousands of innovative, long-term partnerships between schools and creative professionals including artists, performers, architects, multimedia developers and scientists. He will share the evidence of the impact on the creative economy of this early engagement in creativity. Anne Looney, of the National Council for Curriculum and Assessment, will reflect on Paul’s experience in the Irish context.
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FRIday 18 June Jerome Hynes Theatre 12:30 – 1:30
Lunch
Afternoon Plenary O’Reilly Theatre 13:30 – 14:30 Speaker: Tom Fleming Chair: Finbarr Bradley
Learning the New Language – The Creative Economy The arts, culture, creative industries, creative economy, smart economy, innovation – all these concepts have become increasingly important as policy makers articulate the impact, value and interdependencies of creativity and the creative sector. Dr. Tom Fleming has developed creative economy strategies in Poland, the Nordic States, Portugal and Estonia. As an international lexicon is consolidated, this session is an opportunity to hear him interrogate what this means for Ireland and its theatre community. Finbarr Bradley, co-author of Capitalising on Culture, Competing on Difference, will chair.
Afternoon Parallel Sessions/ 4 Options Founders Room 14:30 - 16:00 Speakers: Una McKevitt, Paul Meade, Tassos Stevens Chair: Róise Goan
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21st Century Story Telling From Artistotle’s Poetics to the ‘well made play’, the rules of playwrighting used to be clear. Now we have documentary drama and interactive theatre when the audience becomes a player. Audiences collaborate on digital drama on the web. So what are the implications for the dramatist? Come take a look at the techniques used by storytellers working across different platforms and different theatre formats: Una McKevitt makes theatre from everyday life, Paul Meade is a director and playwright and Tassos Stevens talks from the perspective of Coney ‘an agency of adventure making live interactive crossplatform play’.
FRIday 18 June Afternoon Parallel Sessions/ 4 Options O’Reilly Theatre Stage 14:30 - 16:00
Is the Arts Council Model Fit for Purpose?
Debated by David Parnell & Anne Bonnar
Arts Councils across the world were mostly established after World War Two, as agencies working at arm’s length from governments to support the arts. Although Arts Councils vary, there are common characteristics. Mostly, they fund artists and contemporary arts which would not be viable without subsidy. Mostly, they advocate for the arts and distribute funding, which never meets demand. The recent difficult economic times have tested the relationship between the Arts Council and theatre community. But do we need an Arts Council at all? Can it really fund and advocate at the same time? Is the model out of date? Can the Arts Council as it currently operates serve the theatre community?
Chair: Loughlin Deegan
A debate between David Parnell, Head of Theatre at the Arts Council, and Anne Bonnar, who designed the organisational model for Creative Scotland, the new public agency for the arts and creative industries.
Festival Room 14:30 - 16:00
Focus on Targeting Audiences
Speakers: Una Carmody & Neasa Cunniffe
Green Room 14:30 - 16:00
During the last few years, more and more information has been gathered about arts audiences, their characteristics and behaviour. The latest suite of data to become available is the TGI (Target Group Index) which provides unprecedented and useful facts about potential audiences. With these reports, and the masses of web-generated statistics, it’s time to get smarter about using this data to target new audiences. We have the information, so how do we navigate, analyse and act? The Arts Council, through Arts Audiences, is making these elements of key marketing intelligence available to those working in the arts. Una Carmody from Arts Audiences will share the TGI, quantifying audiences for theatre, opera and dance and for the arts generally, and allowing us to see regional spread, media usage and other vital information. Neasa Cunniffe, Head of Research at OMD, the largest media planning business in Ireland, will share her tools for navigating data and maximising impact.
Chewing the Fat An opportunity to debate a hot topic which emerges during the conference.
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Speakers' biographies Mike Adamson Mike Adamson, CEO Live Nation Ireland, first started promoting artists and bands while at college during the 70’s. With his management degree in-hand he first went into trainee management in Switzerland, Germany and the UK. In 1979 Mike joined Apollo Leisure as Assistant Manager of the New Theatre, Oxford and then onto the Apollo Theatre, Manchester. Mike then returned to Oxford as General Manager of the New Theatre. He also was General Manager of the Bristol Hippodrome Theatre, Edinburgh Playhouse, Liverpool Empire Theatre and Apollo Victoria Theatre (London) during the early 80’s, joining the main board of Apollo Leisure as Operations Director in 1987. In 1989 Mike moved to Dublin, to set up the then The Point Depot and was appointed Managing Director of Apollo Leisure’s 25 theatres and arenas in UK and Ireland. From 2000 Mike focussed on the rebuild of The Point into The O2 while commencing conversations with the Dublin Dockland Development Authority and developers about the feasibility of the Grand Canal Theatre. “It was a long road to gaining the confidence of the global board of Live Nation, the various planning authorities, sponsors and developers to commit to build a new Arena (The O2) and the Grand Canal Theatre all at the same time – 7 years in total – but it was worth it” said Mike Adamson.
Anne Bonnar Anne Bonnar specialises in working with artists and policy makers on strategic change and in designing and leading organisational change and development. She advises and works with national and local governments and public agencies on cultural policy. Anne’s wide experience in theatre in Scotland and in London includes selling ice cream and making costumes at the Citizens’ Theatre Glasgow and producing and PR in the West End. As General Manager of Edinburgh's Traverse Theatre, she led the transformation of Scotland's theatre for new writing from being a membership club in a back alley to a fully public theatre in a new home. In 1991 she co-founded Bonnar Keenlyside an internationally respected arts and cultural management consultancy and led and collaborated on projects with a wide range of artists and creative enterprises at local, national and international level, public and private. Anne specialises in designing and developing new business models including for large, national institutions like the Abbey Theatre to the community based like the Eastgate in Peebles. During 2008 she was the Transition Director for Creative Scotland, the new public body for the arts and culture encompassing the creative industries. This role involved the exploration, articulation and development of Creative Scotland's roles and relationships and the design of its operating model and organisational structure. She was a trustee of the National Galleries of Scotland 2002 -2010 and was a founding director of the National Theatre of Scotland. Anne mentors creative individuals and organisations from textile designers to film festivals and provides Critical Friend Services to CEOs, boards and top teams. She blogs at 21st century culture http://annebonnar.wordpress.com.
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Finbarr Bradley He is an educator who designs and manages university-accredited innovation programmes at companies like Merrill Lynch, Paypal, Omnipay, etc. He was a Professor of Finance at DCU heading up graduate programmes in the early days of IFSC. He set up the Irish-medium centre Fiontar at DCU to foster a strong entrepreneurial spirit among students and which ran a degree in finance, computing and languages. He is a former chairman of zamano, a high tech start-up founded by Fiontar students, now publicly listed. He was a Professor in the Economics Dept. at NUI Maynooth and the faculty member responsible for setting up the Innovation Value Institute (IVI) with Intel Ireland. He has been a visiting Professor at UCD Smurfit School, University of Michigan, Fordham University and the Helsinki School of Economics. His 2008 book, Capitalising on Culture, Competing on Difference, co-authored with James Kennelly, on innovation, learning and sense of place in a globalising Ireland was launched by An Taoiseach Brian Cowen. He co-edited with Joe Mulholland a book of essays on Ireland’s economic crisis from the 2009 MacGill Summer School. He has an engineering degree from UCC and a PhD from the Stern School of Business, New York University (NYU).
Una Carmody Currently Director of the Arts Audiences project, Una Carmody has been CEO of the Helix. Previously she worked as Partnership Director for the Royal Shakespeare Company and the Shakespeare Birthplace Trust in Stratford upon Avon. From 1994 to 2001 Una worked in a variety of roles, including that of Cultural Manager in Temple Bar Properties, the development body that oversaw the regeneration of Dublin's Temple Bar district as a flagship cultural quarter for the city. In 2001 she was Festival Producer for the Abbey Theatre's Murphy Festival, a major retrospective of the work of Tom Murphy. Una has worked in various management capacities in many leading cultural organisations, including Opera Theatre Company, Groundwork Productions and the Dublin Film Festival. As a consultant, Una has contributed to numerous large-scale projects, including the redevelopment of Dublin's Docklands and the building of Ireland's National Aquatic Centre. She served on the adjudication panel of the 2000 Irish Times/ ESB Irish Theatre Awards and currently sits on the board of the Dublin Fringe Festival.
Anne Clarke Anne Clarke was for many years Deputy Director of the Gate Theatre. While at the Gate, she oversaw the West End transfers of several productions, and managed many other international tours, including several visits to the Lincoln Center Festival in New York as well as to the Spoleto Festival, Charleston, and to the Barbican. Since she founded the company in 2003, Landmark Productions has become one of Ireland’s leading independent producers. It has managed four international tours for two theatres on three continents, and has produced twelve shows, including six Irish premieres and three world premieres, in theatres ranging from the 90-seat Project Cube to the 1,284-seat Olympia Theatre. Its productions have been seen at the Project, the Helix, Andrews Lane, the Olympia, the Cork Opera House, and on tour. The company’s most recent productions include Frank McGuinness’ version of Miss Julie at the Project; the world premieres of Ross O’Carroll-Kelly’s The Last Days of the Celtic Tiger and Fiona Looney’s October, both at the Olympia; and David Harrower’s Knives in Hens at Smock Alley. Forthcoming productions in the latter half of this year include a tour of Glen Berger’s Underneath the Lintel to the Assembly Rooms in Edinburgh, with the support of Culture Ireland; a world premiere coproduction, shortly to be announced, with the Ulster Bank Dublin Theatre Festival; and the second stage incarnation of Ross O’Carroll-Kelly, Between Foxrock and a Hard Place, at the Olympia. 13
Paul Collard Paul Collard is the Chief Executive of Creativity, Culture and Education (CCE), the organisation responsible for delivering the British government’s major creative and educational programmes for young people in England. Paul has 25 years experience of working in the arts and is an expert in delivering programmes that use creativity and culture as drivers of social and economic change, most notably in the North East of England and New Haven, Connecticut in the USA. Other positions he has held include General Manager at the Institute of Contemporary Arts in London, Deputy Controller of the British Film Institute in London, Director of the UK Year of Visual Arts in the North East of England and Director of the International Festival of Arts and Ideas in Connecticut, USA. CCE’s particular focus is on unlocking the creative potential of young people in the education system, in order to prepare young people for success in the creative economy of the 21st century. In addition to running such programmes, CCE is able to access a significant range of research data that it has commissioned and collected demonstrating the positive impact of such programmes on the achievement and attainment of young people. Further information about the organisation is available at www.cceengland.org.
Neasa Cunniffe Neasa is a company director in Omnicom Media Group. OMG consists of two media agencies, OMD and PHD, which specialize in communication strategy and media buying for a wide range of clients including Vodafone, Fáilte Ireland, Britvic, Sony Playstation, Barry’s Tea, Warner Music, The Irish Times and Boots. Neasa’s core role is leading the insight planning function across both companies. She works on both client business and bespoke projects, developing and applying insight around consumer behaviour, communication trends, brand positioning and purchase pathways. She also leads their research offering, through their online survey Snapshots, and their involvement in running two continuous syndicated research projects: ID, which focuses on understanding the youth market and was the recipient of the 2009 All Ireland Marketing Award for Best Research, and The F Word, which seeks to understand Irish women. Neasa has a BA in Psychology from Trinity College Dublin. She is particularly interested in behavioural economics as a field and how learnings from the social sciences can help marketers understand people and communication better. She also is a regular contributer to the OMD blog, theinfluentials.wordpress.com.
Loughlin Deegan Loughlin Deegan is Artistic Director and Chief Executive of the Dublin International Theatre Festival, one of the oldest dedicated theatre festivals in Europe. The festival runs for two weeks every October and presents the work of many of the world’s leading companies and artists. Loughlin was Executive Producer of Rough Magic Theatre Company from 2003-2006. He was previously Literary Manager with Rough Magic when his responsibilities included developing the work of commissioned writers and co-ordinating the SEEDS project, a structured new-writing initiative for emerging Irish playwrights. For the Irish Theatre Institute, Loughlin edited the first two editions of the Irish Theatre Handbook, a comprehensive guide to drama and dance in Ireland, North and South, and compiled and edited the launch phase of the Irish Playography Database (www.irishplayography.com), a comprehensive, online searchable database of all new Irish plays produced professionally between 1975 and the present. 14
Grace Dyas Grace Dyas is one third of THEATREclub. Grace is a writer, a director and sometimes she produces things or makes new things happen. Grace is interested in making work about the city and our souls. She chooses to make theatre because it offers the opportunity for live discussion between artists and audiences. She is motivated by the idea that theatre can start conversations that start ripples toward social change. Work to date includes Rough (Absolut Fringe 2009, Axis Ballymun 2010) for which she received the Fishamble New Writing Award; Group Therapy for One (Absolut Fringe, Kilkenny Arts Festival 2010); The Theatre Machine Turns You On, a festival of new work in Project Arts Centre; and THEATREclub Stole Your Clock Radio What the Fuck You Gonna Do About It? Grace has also worked as an assistant to directors Wayne Jordan, Jason Byrne and Neil Watkins. Grace is on the Abbey Theatre's New Playwrights programme and has been shortlisted for the Stewart Parker Trust Award. THEATREclub is a part of Project Catalyst, an initiative of Project Arts Centre.
Tom Fleming Dr. Tom Fleming is a leading international thinker and strategist on the creative economy, city-making and arts and cultural policy. As director of Tom Fleming Creative Consultancy, Tom works with national, regional and local governments, plus multiple NGOs, to introduce positive and innovative change. His work focuses on: •
Creative clusters and innovation ecosystems: maximising the economic growth of the creative and knowledge economy; linking creativity to innovation. He has produced more than thirty strategies worldwide including a Creative Cluster Strategy for Lebanon, a Creative Economy Green Paper for the five Nordic countries, a Regional Creative Industries Strategy for Northern Portugal; a Culture and Creativity Action Plan for Syria; and ongoing thought leadership to the European Commission and several governments.
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Creative city-making: positioning creativity and culture at the heart of planning, social, economic and education policy. Examples: city-visioning, cultural strategies, cultural planning exercises, intercultural planning, and new models and toolkits for urban living. This includes creative city projects in over 40 cities - in Russia, across Europe, Brazil, Dubai, China, USA and Africa. Tom is lead consultant to European Capital of Culture programmes in Guimaraes, Portugal and Warsaw, Poland; and has driven Sheffield’s bid to become UK City of Culture in 2013. Tom is currently developing a creativity and innovation toolkit for cities – to be launched with his new book in 2011.
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Culture, Arts, Creativity & Innovation Policy: leading thinking on new infrastructure models, fitter for purpose creative and cultural education policy, and social innovation through creative approaches.
He works internationally to develop dialogue and broker partnership. He is adviser to the Council of Europe, European Commission, Alliance of Civilisations, UNESCO, British Council and Nordic Council of Ministers. Tom is a founding Board Member of Dialogue Café and Trustee to the charity Arts for All.
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Maureen Gaffney Dr. Maureen Gaffney is a clinical psychologist by profession, and a well known broadcaster, writer and columnist. Over the past 10 years she has divided her time between her own consultancy business and a number of state and other boards. She works with companies on developing programmes relating to leadership, emotional intelligence, management of change and transitions and offers a programme of Executive Coaching to senior managers. She also advises organisations on gender equality, team building and work-life balance. She has worked with companies in Ireland, the UK, Israel, and the US, including nine years with Intel Ireland, working with its senior management team to deliver a programme on emotional intelligence in the workplace. She has served on a number of state and other boards, including as Chair of the National Economic and Social Forum and the Council of the Insurance Ombudsman of Ireland; Board member of the Health Service Executive; Law Reform Commissioner and Council member of the Economic and Social Research Institute (ESRI). She was Chair of the International Advisory Group of Futures Ireland, a foresight planning process set up by the Department of the Taoiseach. She was also a member of the Advisory Board of the Institute of Public Administration (IPA) foresight exercise which examined the major economic, social, demographic, technological and environmental trends and drivers of change over the next decade. She is a member of Harvard University Kennedy School’s Women’s Leadership Board and serves on the Executive Committee of the Board.
Róise Goan Róise Goan is the Director of Dublin Fringe Festival since August 2008. Dublin Fringe Festival (DFF) is a curated multi-disciplinary festival and year-round organisation focusing on new and innovative approaches to the arts. DFF supports the development and presentation of new work by Irish and international artists of vision, nurturing artistic ambition and excellence across a range of art forms. An active curator, DFF provides an environment in which participating artists challenge, subvert and invigorate their disciplines and practice. DFF provides a context for work and demands audience engagement and dialogue. The scale and environment of the festival broadens arts participation, playing a vital role in the fabric of Dublin and Irish cultural life. Prior to her appointment at DFF, Róise was the company director of Randolf SD and freelance producer with companies including Loose Canon on Phaedra’s Love. She worked at The Ark, a Cultural Centre for Children and wrote for television including the award-winning series Aifric for TG4. She participated in the first edition of Theatre Forum’s The Next Stage as part of Dublin Theatre Festival 2007 and spearheaded the development of Project Brand New, where she co-programmed showcases of new work in development at Project Arts Centre in 2008.
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Tom Hickey Tom Hickey is one of the leading Irish actors of his generation. He trained with Deirdre O’Connell at the Stanislavski Studio, Dublin. With Deirdre he was a founder member of Dublin Focus Theatre, playing leading roles in Miss Julie, Antigone, Uncle Vanya and The Night of the Iguana. In 1970 he directed and played in The Goodbye Machine by Lee Gallagher, which was the first-ever theatre show in the now flourishing Project Arts Centre. He worked extensively at the Abbey Theatre from the seventies onwards, notably in Brecht’s Galileo, Of Mice and Men, Saint Joan and Ionesco’s What A Blood Circus. He created leading roles at the Abbey in the world premieres of significant new Irish drama, including Tom Murphy’s The Gigli Concert, Brian Friel’s Give Me an Answer, Do!, Frank McGuinness’s Observe the Sons of Ulster Marching Towards the Somme and Michael Harding’s Misogynist. For writer Marina Carr he appeared at the Abbey in Portia Coughlan, By the Bog of Cats and On Raftery’s Hill. He has had a close working relationship with writer and poet Tom MacIntyre for the last twenty years. In 2005 he had a leading role in MacIntyre’s award-winning What Happened Bridgie Cleary. He appeared in MacIntyre’s one-man play The Gallant John-Joe at the Edinburgh Festival in 2002. At the Abbey Theatre, all through the eighties, he played in and collaborated with MacIntyre and director Patrick Mason on several Theatre-of-the-Image plays, including the sensational and highlyacclaimed The Great Hunger, as well as The Bearded Lady, Dance For Your Daddy, Rise Up Lovely Sweeney and Snow White. These plays introduced a whole new populace to a radical and unique form of theatre. Subsequently Hickey directed MacIntyre’s Sheep’s Milk on the Boil (Abbey Theatre) and Chickadee (Red Kettle Theatre Company). His most recent productions at the Abbey Theatre were The Last Days of a Reluctant Tyrant and Christ Deliver Us! His most important roles on the British stage include Jack in Conor McPherson’s The Weir in London’s West End, Joxer in O’Casey’s Juno and the Paycock at the National Theatre, Ephraim Cabot in O’Neill’s Desire Under the Elms at the Greenwich Theatre. Tom most recently appeared in the West End production of Endgame directed by Simon McBurney for Complicite at the Duchess Theatre, London. In 2005 Tom was appointed a Director of the Board of the Abbey Theatre.
Camilla Holland Camilla Holland is the General Manager of Tarragon Theatre, one of Canada’s leading new play developers and producers. Tarragon Theatre is 40 years old and runs a two-venue location in downtown Toronto. Camilla is a long-time board member of the Toronto Alliance for the Performing Arts (TAPA), an arts service organization that represents Toronto’s 175 professional theatre, dance and opera companies. Camilla is currently the Chair of the Advocacy Committee for TAPA, and the Co-Chair of ArtsVote Toronto, a cross-disciplinary campaign working to elect politicians who support the arts in the 2010 municipal election. She was the Chair of the Commercial Theatre Development Fund (CTDF) Committee for three years. The CTDF, administered through TAPA, was created to help grow the small to mid-sized commercial theatre sector, with a specific emphasis on original Canadian works. Camilla has worked for a wide variety of professional theatres across Toronto, including large institutions (Canadian Stage Company), theatre for young audiences (Lorraine Kimsa Theatre for Young People), new play developers (Factory Theatre), and smaller creation-based companies (Volcano Theatre). She produced the SummerWorks Theatre Festival (one of Toronto’s new play festivals), and numerous independent productions. She has worked as a funder and consultant, and her experience spans education and outreach, marketing and fundraising, production and touring.
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Stefán Jónsson Stefán Jónsson was born in 1964 in Reykjavík, Iceland. After finishing matriculation he spent a year studying French civilization and language at Université Paul Valery in Montpellier, France. He graduated as an actor from Guildhall School of Music and Drama, London, in 1989. Stefán has spent most of his career as an actor, first at Reykjavík City Theatre and then at the National Theatre of Iceland where he was a company member until 2003. He has also acted quite a bit on TV and in films. Stefán started directing in 1998, first working with amateur companies but gradually working his way onto the professional scene. His first full night production was Kvetch by Steven Berkoff, which took the Icelandic Theatre Awards by storm and won numerous awards, including Best Production and Best Director. His focus as a director has been on new Icelandic works but foreign plays include: Brecht´s The Threepenny Opera, A Streetcar Named Desire by Tennessee Williams, Lapin Lapin by Colline Serreau, Celebration by Pinter and Gogol´s The Government Inspector. Over the last decade Stefán has also been teaching part time in the drama department of Iceland’s Academy of Arts and since 2008 he has been Head of Acting. He is currently a member of the artistic board of the National Theatre of Iceland.
Patrick Lonergan Patrick Lonergan is a lecturer at National University of Ireland, Galway. He writes about theatre for The Irish Times and Irish Theatre Magazine (of which he is also a Board Member), and is Director of the J.M. Synge Summer School for Irish Drama. He has published widely on Irish literature and drama: his books include Interactions: The Dublin Theatre Festival 1957-2007, The Methuen Drama Anthology of Irish Plays, and Theatre and Globalization, which won the 2008 Theatre Book Prize. His next book, Synge and Modern Irish Drama will be published during the summer of 2010. He has also edited student editions of Martin McDonagh’s Lieutenant of Inishmore and The Lonesome West. He is Vice-President of the International Association for the Study of Irish Literatures, and a member of the Executive of the Irish Society for Theatre Research.
Dr. Anne Looney Dr. Anne Looney has been CEO of the National Council for Curriculum and Assessment – www.ncca.ie – since 2001. Prior to her appointment she worked in post-primary and teacher education and in curriculum development. She is a graduate of the Mater Dei Institute in Dublin, and the Institute of Education in London. She has published on curriculum and assessment policy, on education policy implementation and on citizenship education and education for sustainable development.
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Una McKevitt Una McKevitt is a Dublin based theatre maker interested in making theatre from everyday life. In the work Una makes the audience are presented with real lives told by the people who live them. Una is part of Project Catalyst and a graduate of Drama and Theatre Studies at TCD. In January 2009 Una directed Victor and Gord, a durational work in progress devised with the cast Vickey Curtis and Aine McKevitt at Project Brand New 3. In June 2009 an extended version of Victor and Gord entitled Victor and Gord, Ali and Michael was presented during the Queer Notions Festival upstairs in the Project Arts Centre. In September 2009 a further extended version of this show Victor and Gord CUBED including a third pair was presented during the Dublin Fringe Festival September 2009 in Project Cube and was nominated for the Spirit of the Fringe Award. A new version of the show with three of the original cast members ran for two weeks in Project Arts Centre in February 2010. In May 2010 Una presented 565+ as a work in progress at Generation as part of the Bealtaine Festival in association with Project Brand New and is currently working on this project for production later this year.
Heather Maitland Heather Maitland is an arts consultant, author, lecturer and Associate Fellow at the Centre for Cultural Policy Studies at the University of Warwick. Heather has been supporting marketing and audience development in Theatre Forum member organisations since 2005, devising and delivering information resources, training programmes and audience development projects. She is currently working with the Butler Gallery, Kilkenny, CoisCéim Dance Theatre, The Ark and IMMA on pilot projects for the Arts Audiences programme. Heather has worked as a marketer for a wide range of arts organisations: from the smallest of touring theatre companies to running the London end of the Royal Shakespeare Company's marketing operation and including both classical and contemporary dance. She worked with over 100 organisations on audience, business and art form development as head of two of the UK’s audience development agencies. Heather has written eight books on arts marketing and audience development. Her Marketing Manual has been translated into Mandarin Chinese and is widely used across Taiwan, Malaysia and China as well as in the UK. She also writes regular columns for the Journal of Arts Marketing and Arts Professional exploring marketing and audience development issues. She has delivered seminars and training programmes throughout the UK and in Syria, Denmark, Italy, Finland, Sweden, Taiwan, South Africa, Zimbabwe, Malawi, India, Japan, the USA, Czech Republic, the Netherlands, Belgium and the People’s Republic of China.
Paul Meade Paul Meade is a writer, director, actor and Artistic Director of Gúna Nua Theatre. From Limerick, Paul trained at the Samuel Beckett Centre, Trinity College, and later received an M.A. in modern drama from UCD. Work as a writer includes Scenes From a Water Cooler, Skin Deep (Stewart Parker Award 2004), Thesis and Trousers, all for Gúna Nua. In 2007 Paul wrote Mushroom for Storytellers Theatre Company and was awarded a play-writing commission by the Irish Council for Bioethics. The play, Begotten Not Made won the Jim McNaughton/Tilestyle bursary at the 2009 Business to Arts Awards. Paul’s most recent plays are Meltdown (premiered at the 2009 Dublin Fringe Festival) and Light Signals (Team Theatre production 2010). Paul has directed the award-winning Little Gem and Scenes From a Water Cooler (co-directed with David Parnell), Meltdown, Taste, The Real Thing and Trousers for Gúna Nua. He has also directed Translations for Hands Turn Theatre, Medea for Threshold, Death and the Maiden for Mirage, and Positive Dead People by Pauline Shanahan and David Mamet’s The Shawl for Bewley’s Café Theatre. Paul is currently directing two forum theatre pieces for Gúna Nua/Focus Ireland. As an actor Paul has worked with companies all over Ireland and toured to the U.K., U.S.A. and Australia.
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David Parnell David Parnell was born in Dublin. He began acting with Dublin Youth Theatre, before training as an actor at the Samuel Beckett Centre, Trinity College Dublin. He then worked as a professional actor on most of Ireland’s major stages, particularly the Abbey Theatre, as well as various small roles in TV and film. In the mid 1990’s he began writing and directing for the stage. From 2000 to 2002 he was a staff director at the Abbey Theatre, and then from 2002 to 2004 one of its associate artists. In 1998 David founded award-winning theatre company Gúna Nua with Paul Meade, where he was joint Artistic Director and General Manager. With Paul, he co-wrote and directed Scenes From a Water Cooler, as well as directing The Importance of Being Earnest, Burn This, Dinner With Friends, Skin Deep, Thesis and Hamlet. He also wrote the plays Taste and Trousers. As well as his work at the Abbey and Peacock, David has also directed plays with Druid, Second Age and Bickerstaffe. He has also written and directed for Dublin Youth Theatre and the National Association for Youth Drama, and has taught acting at Trinity College Dublin. In 2008 David joined the Arts Council where he now works as Head of Theatre and Circus. He lives in Dublin and is married with two daughters.
Catherine Paskell Catherine Paskell is Creative Associate at National Theatre Wales and a theatre director originally from Cardiff. She trained on the MFA Theatre Directing at Birkbeck and has a degree in American Studies from Nottingham University. Catherine is passionate about working with writers to develop new plays and her great love is new American drama. She lived and worked between London and England's North West, where most recently she worked with Liverpool writer Shaun Duggan on his new play, Drama Queen, for the Unity Theatre. She has produced work for theatres and touring companies including Oldham Coliseum, Lyric Theatre Hammersmith, Trafalgar Studios, Contact Manchester, Theatre 503, The Finborough, Tara Arts, Haddo House Opera, Baron's Court Theatre and the Octagon Theatre Bolton, where she was also Resident Assistant Director. She has produced work for and with young people and communities, working alongside companies including People Show and Dende Collective. At National Theatre Wales, she is directing The Beach. Alongside Creative Associate, Mathilde Lopez, she is also developing and delivering the Assembly, a programme for communities and artists to debate and respond to what matters to them.
Dick Penny Dick Penny works as producer, manager and consultant in the creative sector. He is Managing Director of Watershed in Bristol, a pathfinding cross-artform digital producer which has become a knowledge exchange hub for the creative industries, innovating at the intersection of society, media arts and technology: www.watershed.co.uk. Published digital projects are located at www.dshed.net. Collaborative innovation projects are at www.ished.net and www.pmstudio.co.uk. One current iShed project is Theatre Sandbox to support the research and development of experimental pieces of performance which engage with pervasive media technologies. As a theatre producer credits include the World Premiere of When the Wind Blows adapted by Raymond Briggs from his book; Pete Postlethwaite in Macbeth; and two award-winning solo shows: Baglady with Sorcha Cusack and Scaramouche Jones with Pete Postlethwaite which premiered at the Dublin Theatre Festival and toured internationally. Dick is also playing a leading role in Connecting Bristol, delivering a digital inclusion strategy for Bristol. He is Executive Chair of Bristol Old Vic Theatre and Chair of the Bristol Partnership.
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Marcus Romer Marcus Romer is the Artistic Director of Pilot Theatre, the national touring theatre company based at York Theatre Royal. Marcus' production of Lord of the Flies for Pilot Theatre has had five national UK tours and has received a TMA award nomination and won a Manchester Evening News award. Marcus is also a published playwright and he has adapted and directed the world premiere of Susan Hinton's cult classic Rumble Fish, which toured nationally and opened in Oklahoma last year. He adapted Bloodtide by Melvin Burgess which again toured nationally and has recently adapted Looking for JJ by Anne Cassidy and Fungus the Bogeyman, by Raymond Briggs. Marcus created the opening event at the 2007 IIFA Bollywood Oscars at Sheffield Arena, for a live audience of 15,000 and a TV audience of 500 million. Recently with Kit Monkman, he made the promo movie for ACE for the YPPT project, and he is currently working on the screenplay for a new feature film for GreenScreen Productions with Kit Monkman, entitled The Knife That Killed Me from the novel by Anthony McGowan.Marcus was invited to attend the TED conference in California in 2007 where he furthered his interest in technology in the arts. On returning, he formulated the Shift Happens Conference in the UK which ran in July 2008. He is a regular speaker and presenter on the arts circuit in digital technology.
Carys Shannon Carys Shannon is Associate Producer at National Theatre Wales. Prior to this, Carys held the post of General Manager at Volcano Theatre Company since January 2008, where she led the company through a successful organisational review and re-visioning process. Previously Carys held the role of Marketing and Campaigns Manager (Acting Head of Marketing) at Sherman Cymru, overseeing the company’s rebrand and marketing overhaul in 2007. She has worked successfully in arts marketing for over five years, winning an Audiences Wales Award and presenting at the Arts Council of Wales Marketing Conference. Previous employers include Sgript Cymru, the Wales Millennium Centre and the Dylan Thomas Theatre. Carys studied Theatre at the University of Wales Aberystwyth, completed a Clore Leadership Short Course in February 2009 and is a fully accredited Relational Dynamics Coach. She is also a published writer and poet.
Tassos Stevens Tassos Stevens is a runner and co-director of Coney, and rumoured to have been involved in most of their work. Coney is an agency of adventure making live interactive cross-platform play, and a community of artists and makers through play, meeting mano a mano and online to collaborate. Coney were supported artists at Battersea Arts Centre and recently made there A Small Town Anywhere, theatre with no performers bar the playing audience, and A Cat Escapes, a pilot adventure in learning for a classroom of 8-year-olds. Coney have made adventures and play for the National Theatre, LIFT, the Science Museum, Dublin Fringe Festival, NESTA, Metal, and an award-winning adventure for publishers Hodder & Stoughton, and designed games for Come Out & Play and Hide & Seek. Current projects include Art Heist, where players rob an art gallery, a commission for Tate Britain around Henry Moore, and ongoing adventures in learning.Tassos conceived The Soho Project for the London Games Festival, is developing interactive digital projects with the BBC and C4, and also designing Papa Sangre, an audio-only 4IP-commissioned game for the iPhone. He’s currently developing an adventure for families to play together, and plotting adventures to happen in public spaces all over the world. He's an award-winning theatre director and maker, writer and gamedesigner with a Doctorate in Psychology. He blogs irregularly at allplayall.blogspot.com, tweets @ tassosstevens, and recently spoke at Playful ’09, The Story, Arts Council Decibel, Connected in Tokyo, and RSA State of the Arts.
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Willie White Willie White has been Artistic Director of Project Arts Centre, a busy multidisciplinary contemporary arts centre in Dublin, since 2002. Before that he worked for broadcaster RTÉ for four years, mostly on television arts programmes. Project Arts Centre works extensively in commissioning and co-production with independent artists through its Project Catalyst initiative. It is also a home for many artists, festivals and production companies presenting work in Dublin. A founder of Loose Canon Theatre Company and Irish Theatre Magazine, Willie is a board member of TASCQ (Traders in the Area Supporting the Cultural Quarter), Irish Modern Dance Theatre, Dublin Youth Theatre and IETM, the international performing arts network. Willie read for Masters degrees in English and Irish Theatre at UCD and TCD respectively. He was awarded the Jerome Hynes Clore Leadership Fellowship in 2008.
Ray Yeates Ray Yeates began directing and acting at UCD in the late 70’s, forming Deilt Productions, an Irish language theatre and television company, before becoming Deputy Artistic Director in 1985 at the Abbey aged 24. He emigrated to New York in 1992 where he was a resident teacher at the Irish Arts Centre and the American Academy of Dramatic Art, and was Artistic Director of The Shades of Green Arts Festival in the Bronx. He returned to acting in New York performing Dermot Bolger’s In High Germany and in The Steppenwolf/Long Wharf production of The Playboy of The Western World. On returning from America in 1999 he founded Modh an Aoibhnis (the Way of Joy) a theatre production and training company in the Irish language. Ray Yeates has been Director and CEO of Axis arts and community resource centre in Ballymun since 2004. With the Axis team he has ensured ongoing activity and engagement in the area of audience development. Ray has directed many plays for Axis including several works by Dermot Bolger, and has toured to America, the UK, Belgium, Poland and around Ireland. Ray is also creative director of Hip-Nós, a groundbreaking collaboration between sean-nós and hip-hop artists. In June 2008 Ray was awarded ‘Best Arts Champion’ at the Allianz Business to Arts Awards and was appointed as director of Breaking Ground, the per cent for art programme for Ballymun in October 2008. Ray currently serves on the boards of Buí Bolg Street Art & Spectacle Company, Ballymun Regional Youth Resource Centre and Little Rascals Créche, Ballymun.
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Sleep Accommodation prices for Theatre Forum Annual Conference attendees have fallen by an average of 12¤ on 2009 prices. Whites Hotel This four star hotel is just a two minute walk from the Opera House. It is also the venue for the conference dinner on Wednesday 17 June. Theatre Forum has reserved a number of rooms at the following rates:
Nearby Guest Houses Abbey Guest House (opposite White’s Hotel) 053 91 24408 ¤35 single /¤60 Double
¤70 for a single room B&B ¤50 per person sharing B&B If you wish to book a room you should reference ‘Theatre Forum’ in an email to info@whitesofwexford.ie or tel 053 9122311.
Auburn Terrace (Opposite train station, 5 minutes walk to Whites) 053 91 52750 ¤45 Single / ¤70 Double
St George Guest House Georges Street (5 minutes from Whites) 053 91 43474 ¤40 Single/ ¤70 Double
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Tourist information
Travel Theatre Forum bus from Dublin: As the train schedule (see below) is not an ideal match for the conference, Theatre Forum has decided to organise a number of buses to travel from Dublin city centre to Wexford. Buses will drop delegates to Whites Hotel which is a two minute walk from the Opera House. The cost for return travel is 造15 and must be booked and paid for in advance via online booking.
The Theatre Forum bus will depart as follows: Dublin to Wexford Thursday June 17 From Custom House Quay
To Wexford
Departing 10:00
Arriving 12:30
To Custom House Quay
Departing 16:45
Arriving 19:15
Wexford to Dublin Friday June 18 From Wexford
By rail from Dublin: Should you wish to travel from Dublin by train the fare is 造28.50 return and the times that fit best with the conference are: Dublin to Wexford Thursday June 17 From Dublin Connolly
To Wexford
Departing 07:32
Arriving 10:05
To Dublin Connolly
Departing 18:20
Arriving 20:48
Wexford to Dublin Friday June 18 From Wexford
Other travel options: Please note there are no direct trains from Cork, Limerick or Galway. For more information on driving routes and other travel options from around the country, have a look at: www.wexfordopera.com/plan-your-visit.
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How to book
Thank you
Please go to http://www.eventelephant.com/ResilienceandRenewal to book your place at the conference.
Theatre Forum would like to thank the following for their invaluable assistance in organising this year’s conference: everyone at Wexford Opera House especially Eamonn Carroll, Thomas de Mallet Burgess, David McLoughlin and Aisling White; our core sponsors, O’Driscoll O’Neill and Tickets.com; our funders The Arts Council; and most of all the Board of Theatre Forum: Una Carmody, Loughlin Deegan, Johnny Hanrahan, Fiach Mac Conghail, Jo Mangan, Fergal McGrath (Chair), Eina McHugh, Cian O’Brien and Karl Wallace.
If you would like to pay by credit card, choose "Pay Online", and you will be able to complete your transaction. If you would prefer to pay by EFT or cheque, select "Pay Offline" and an invoice will be automatically generated and emailed to the email address provided. The conference fee covers all sessions, lunch on both days, coffee breaks, evening dinner and entertainment. Please note booking and payment must be submitted by Monday 14 June. After this time we cannot guarantee inclusion on the delegate list. If you experience any problems, please contact us on theatreforum@ireland.com or 01 874 6582.
Sponsors Theatre Forum is hugely grateful to our sponsors:
O’Driscoll O’Neill
RATES: Non-members - ¤175 Member, first delegate - ¤140
Tickets.com
Member, subsequent delegates - ¤110 Subsidized - ¤110 There are a limited number of subsidised places for freelance writers, directors, producers and actors. Please contact Theatre Forum for more details.
Please use #TFConf when tweeting at the conference
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Resilience & Renewal
Theatre Forum receives financial assistance from the Arts Council
Annual Conference core sponsors