UT Radius 8/4

Trinity Trend

Hanna Valila reflects on the year in terms of Campus Couture, breaking down what trends Trinity students actually wore this year.

RECIPE

SPEAKING WITH Beet Chocolate Cake Trinity Orchestra

Ella Parry delves into her healthier take on a decadent chocolate cake, featuring a somewhat unorthodox ingredient page 7»

Sadie Loughman speaks to Emily Sheil to find out whether classical music really is Bach and better than ever page 9»

Last March, when Clara ‘The Boss’ Roche was elected as Editor of The University Times, I was at home snuggled into my cosy sheets and thought, “I can finally return to Radius”. I had previously served a brief stint as Deputy Literature Editor. Before this, I had never written an article before in my life, swearing off ever getting involved in the politics of student journalism. Still, I was secretly scared I would never be good enough to produce a publishable piece of writing. I immediately fell in love with manifesting my thoughts onto a page, even if it was a Google doc; my thoughts were good enough just as they were. Fast forward, and I am sitting on a Zoom call being interviewed for the position of Radius Editor, the task being a daunting mountain of work; I was up for it, but on one condition: I do it alongside Barrett.

Barrett Ellis, my American comrade and partial submarine enthusiast, was my superior last year, serving as Literature Editor. We both jumped straight in blind; neither of us had written anything before, but we learnt so much from each other. I texted him with a proposition, I think it went something along the lines of “If I apply for Radius Editor, will you?” and the big American he is probably said, “Sounds awesome, man, let’s do it!”. Don’t be fooled; he still edits my articles, as I sometimes have questionable sentence structures, and I remind him we have meetings on Tuesday at 3 p.m. We have navigated the big bad world of this arts publication through two semesters. As it is all coming to an end, like both of our times here at Trinity, it felt fitting to look back on the fantastic issues we have managed to get out this year, and to spotlight the incredible efforts of our lovely staff.

Radius in Review

Barrett and I are a dynamic duo, but our synergy was missing a key component: our lovely Assistant, Maisie Greener. Let me tell you something about Maisie. Her commitment to the cause is so admirable, attending each meeting all the way from Bologna. She never stopped producing articles for both Radius and Magazine. Whenever I sent her a message the night before asking her to write the Ob-

Speaking With: Deirdre O’Mahony

Elly Christopher

ART EDITOR

Opening on March 28th in the Douglas Hyde, Deirdre O’Mahony’s The Quickening is a project decades in the making. O’Mahony has been described as a socially-engaged artist, who develops ways to work with people rather than just strictly making objects, but she describes her style as straddling this and an aesthetic practice. This is seen in her newest project, with the film having both beautiful and repellant aspects. In an interview with The University Times, she shared the story of the experiences that led her to The Quickening.

While O’Mahony has been focusing on making artwork for the last thirty years about landscapes and land use in particular, her journey towards The Quickening began in the last ten years, when her focus began to shift to food production and farming. In 2009, she began SPUD, a project that explored how the potato is

used to question attitudes towards mortality, and the identities of Irish people living with the legacy of colonialism.

However, the real inspiration for the project came from a commission she did for Galway Hospital Systems. It was an audio piece, which was designed for hospital patients undergoing dialysis. The objective of the project was, as she stated, “to take people out of their habitual place”, and “open up an imaginative space for them”. Since the hospital had dialysis centres up the West Coast, she chose sounds from locations on the coast. One of these locations happened to be a farm. It was here she met Suzanna Crampton, a farmer based in Kilkenny, who is a passionate advocate for farming with nature, and regenerative farming.

At this point, she began the Sustainment Experiments. It was the middle of lockdown, which brought into the public gaze the fragility of the food distribution system. “What was shaping that project”, she said of the first Sustain-

ment Experiment, “was an idea that was put forth by a design philosopher called Tony Fry. Tony argued that we’re at the point now where we need to have a shift in behaviour that is equivalent to the change in behaviour that happened during the Enlightenment, due to climate change. He calls it ‘Sustainment’”.

The first Sustainment Experiment involved doing plantings in different locations, in the shape of an I Ching Hexagram, which are Chinese symbols – a way of speaking to the future and of revealing what you already know. O’Mahony asked the I Ching, what is

the future of sustainable agriculture in Ireland? These hexagrams will be painted in the Douglas Hyde, accompanying the film. As for the answer, O’Mahony stated that “That’s the question that’s been at the heart of everything that I’ve done, and everything that’s led me to make this film”.

A main aspect of the research for The Quickening was the Feasts. There were two, one in Dublin and one in Kilkenny. All the conversations were recorded and distilled into the soundtrack of the film. “I was trying to listen to what people were saying and have it heard differently” as a “way of cre-

ating public space for people whose voices wouldn’t normally be heard in that context”, she explained, and this became a common theme of the Feasts, and of the film. In fact, throughout all the Feasts, the emphasis was on embracing imperfection, encouraging people to come as they were and share what they knew. The conversations that flowed from these meals were the basis of the film.

“The Quickening is about learning from the past and moving forward”, O’Mahony said of the main purpose of the film. In conjunction with this are several public engagement programmes

that go along with the exhibit. There will be several workshops, led by different people who will each devise a different way to engage the audience with the film, such as writing a letter to the farmers that are featured themselves, and a workshop on food production and consumption.

In addition, there will be a reading section, with new books in the gallery each week. To cater to students specifically, there will be a student forum project. Most importantly, The Quickening will be going on tour as a way to bring the artwork to more rural locations.

At the heart of the film is the message to dig deeper. “That’s my takeaway”, O’Mahony stressed, “Dig deeper about what you eat and where you buy it.” The Quickening is a project years in the making, but it is just the beginning. O’Mahony’s film is one with increasing relevance, drawing attention to the complexities of agriculture in the modern age.

The Quickening runs until June 23rd at the Douglas Hyde Gallery.

The Pav: A Reconciliation Attempt with On-Campus Cuisine

Anger gets the best of all of us sometimes.

loved him enough (It’s absolutely no problem if you don’t understand what I’m saying here – I barely do myself).

And by all of us, I mean me. I just thought I’d drag everyone into it. While writing the last issue’s articles, I might have been ruled by my volatile, female emotions. The alpha males are bound to be right occasionally, if only accidentally. Even though my review of the Buttery was nothing short of slanderous, I would like to distance myself from the condemnation of all on-campus cuisine that some readers might have surmised from that piece. It would be far from my natural disposition to make sweeping, generalising statements and fail to back them up with cold, hard evidence.

Please consider this article as the counterargument to the last issue’s Buttery hate piece. Also, I would like to add that my friend Anna likes their sausage rolls. I like Anna, so I guess

by extension I also like the Buttery. I won’t go as far as apologising to the Buttery. I wouldn’t apologise to a cheating ex-husband either which I’d consider a fitting analogy. However, in hindsight, I do acknowledge that I was working late a lot and maybe didn’t tell him that I

Cheating ex-husbands aside, the Valentine’s Day excursion shook me to my core. However, remembering the Pav, or as my dad unironically says, “The Cricket Pavillion”, has somewhat reconciled me with on-campus cuisine. So often in life, we tend to focus on things we dislike rather than on the things we cherish. The Buttery is your partner’s snoring. It is irksome and a sufficient reason for a speedy divorce but your friends also think you complain about it a bit too much (the analogies today are very monothematic and not improving). The Pav is arguably more

likeable than the Buttery. To be fair, the fact that they serve alcohol also helps their reputation. Maybe the Buttery should try that. If they do, I want a 10 per cent share of the profits. Back to the Pav: while we all love to frequent the establishment in the evenings for a little pick-me-up, I think that it is an underrated lunch spot. This time of year even occasionally makes it possible to sit at one of the tables outside without contracting hypothermia.

Let’s get to the food menu. The chips are fantastic and big enough for sharing at only €3.60. Sidenote: the bowl they serve them in looks a bit like a gravy boat. Just thought that was noteworthy. They also serve soup daily. This not being served on an indistinguishably co-

loured tray is a huge plus. The bar is on the floor, guys. In all seriousness, the soup is great. It’s served with cheesy garlic bread which I endorse. In my opinion, more culinary enterprises should serve cheesy garlic bread with their soups. I’d sign that petition.

I won’t lie, I’ve never tried one of the Pav’s mains. If you have any complaints concerning my service in this matter, kindly email foodanddrink@universitytimes.ie and I’ll send you my Revolut tag xoxo All proceeds raised will go to my purchasing of Pav mains.

In conclusion, Pav food is great. Also, I might have been a bit harsh on my cheating ex-husband, the Buttery. Will I be more measured with my criticism in the future? Perchance.

PRODUCTION STILL BY TOM FLANAGAN, 2023

PHOTO BY ELLA PARRY FOR THE UNIVERSITY TIMES

Observations

Musings on the Past Month

Ella Hussey

Ah, another month, another Radius, but this is not like every other issue, it’s the year’s last issue! It’s not the last issue ever, do not worry – you can be assured of being updated on all of Dublin’s lifestyle and cultural events when September rolls around. However, this is MY last issue ever and, as bittersweet it is, I am immensely proud of this issue. We are knee-deep in final essay season and for most of you I can imagine the

word “exams” is blacklisted from any conversation. My advice is, it always gets done. Well, that’s what I have told myself the past 4 years and I’m still here – so I pass my wisdom down to you, dear reader of Radius. Don’t worry just yet as we have the best study distraction you could ask for, 16 whole pages of content for you to delve into. How amazing is that!

Laura O’Callaghan and Abi Ní Mhuírcheartaigh have joined forces to produce an amazing theatre article as Gaeilge! It investigates Nuala Ní Dhomhnaill’s Irish adaptation of the Aeschylus story entitled Na Peir-

The Imitation Game

Sarah Browne

LITERATURE EDITOR

When asked about her writing style, Joan Didion claimed she learned it, in part, by retyping the stories of Ernest Hemingway. “He taught me how sentences worked,” she told an interviewer from The Paris Review. Through imitation, Didion began internalising his structures to begin expressing her own ideas. Despite his influence being tangible in Didion’s later writing, nobody doubts her own unique power, one entirely distinct from her predecessor. But why is this form of early imitation so important?

Each year, the summer period offers a selection of creative writing workshops to budding young authors. From The Stinging Fly to the Irish Writers Centre, artists are given a space to develop their writing practice by engaging with other determined participants. Often, they’re marketed as a way of helping writers “find their voice”. Implicit in this is the assumption that most inexperienced writers are burdened by the cacophony of other writers’ styles when they approach their own work. Read Woolf at the beginning of the week and you will be writing like her by the end of it. Such is the predicament of the imitator. Yet, despite the derogatory undertones of immaturity and insecurity inherent in labelling someone as “imitative”, most artists advocate for the imitative model in the early stages of a career. Picasso famously argued that “to copy others is necessary, but to copy oneself is pathetic”. With its roots in the classical Greek tradition of mimesis, much of human history has found value in studying models and attempting to reproduce them. Work that proved noteworthy either because of content or form was copied in order to illuminate the intricacies of its form, content and style. Once the fundamentals

sigh / Persians running in The Abbey Theatre. Over in Food and Drink, Ella Parry has touched on the social implications of expensive shots in Dublin. From Literature, Molly Wetsch has answered one of the most pressing questions on all of our minds: what are societies reading? The answer will either shock you or impress you, so give it a read! Finally, the end of the year is a hotspot for society events, as outlined in our ‘Your Week Ahead’ and Eliora Abramson has an exclusive interview with Trinity Musical Theatre (TMT) after their big win at the CSC Awards!

were mastered, writers could move beyond replication to innovation within those learned structures. This two-thousand-year-old tradition still trickles down into the contemporary writer as an “enabling, heuristic function” (Gorrell). However, plagiarism is distinct from imitation. Rather than mindlessly copying work, imitation is a means of deconstructing and rebuilding a piece with the goal of understanding how meaning is formed through stylistic and syntactic features. For the unskilled writer, imitation offers a way of freeing creativity by providing a cemented path to aid one through uncertainty. Despite the popular belief, it doesn’t stifle creativity but rather instils specific practices of articulation.

So the question remains: Are creative writing workshops that claim to help the budding writer escape the restrictions of imitation necessary? The answer is yes. We often gravitate to certain writers because they articulate a certain part of humanity that we, individually, can relate to. Within their

distinctness, we spot room for our own experience to be slotted in and begin manipulating and innovating from there. If we cling too earnestly to those initial influences, we run the risk of diluting our own experiences to fit within the bounds of our inherited form. Creative writing workshops therefore aid artists through collective critique to separate the authentic from the borrowed. In doing so, one may graduate from the classical roots and enter more concretely into the realm of the contemporary.

Hemingway himself was influenced by Gertrude Stein and Cézanne, the latter was in turn influenced by Pissarro, and so the list continues. Tracing back this lineage, it becomes clear that imitation encompasses interpretation, observation and expression – and is something to be embraced rather than shunned.

For online workshops, see www. chillsubs.com. Chill Subs is currently offering a free personal essay writing workshop and frequently updates its website with new offers.

MONDAY

ENGSOC AGM

MACNEILL, 6.30-8PM

Kicking off this year’s Annual General Meeting (AGM) season, with societies eager to fill the gaping holes left by the previous year’s committees, is TCD Engineering Society (EngSoc). Held in the MacNeill theatre in the Hamilton Building, be sure to make your way down if you want to run for any of the coveted positions on the society’s committee for the upcoming college year.

TUESDAY VISARTS END OF YEAR EXHIBITION

COPPERHOUSE GALLERY, 6PM

Trinity Visual Arts Society (VisArts) is hosting their end of year exhibition at 6pm on April 9th at the Copperhouse Gallery. Tickets are free and can be found in the bio of their Instagram account (@tcdvisarts). There will be art, wine, music, and even prizes for best artist and best dressed. And if you love the exhibition and want to be a part of VisArts next year, you can join them at their AGM on the 15th of April at noon in House 6 Room 31.

WEDNESDAY STITCH AND BITCH ELIZ ROOM, 8PM

Need a break from grey-hair-inducing exam season? The Knitting Society (Knit Soc) has you covered. Knit Soc host a variety of events each week, including their famed Stitch and Bitch sessions, which will this week be held in the Eliz Room on Wednesday. They are also hosting an Online Movie Night through their ‘Knitcord’ Discord server on Friday at 8pm.

THURSDAY

WRITERS OF MODERNISM AND FIGHTERS AGAINST THE COLONIAL CONDITION TALK

TRISS SEMINAR ROOM, ARTS BLOCK, 5PM

If your brain is not yet full of all the knowledge necessary for upcoming exams, head to the TRiSS Seminar Room of the Arts Building on the 11th of April at 5pm for a talk from Dr. Simone O’Malley Sutton. The talk will focus on the Irish Literary Revival and the impact it had on the modern Chinese May Fourth Writers. With interests in postcolonialism and gender, Dr. O’Malley Sutton is sure to provide both a fascinating and insightful event.

PHOTO COURTESY OF NETFLIX

Threads of Home: Anna Rave’s Heimat-Inspired Designs

FASHION EDITOR Clara Potts

Driven by a profound connection to her roots and a relentless pursuit of creative expression, Anna Rave embarked on a transformative journey that led her to studying at the National College of Art and Design (NCAD) in Dublin. It was here, amidst the eclectic blend of innovation and tradition, that she found herself contemplating the concept of heimat, the German notion of home or homeland, that transcends a mere physical space to encompass a deep-seated sense of belonging and identity. Intrigued by the dichotomy of her dual cultural identity, Rave embarked upon a mission to incorporate her German heritage into the fabric of her designs.

Each silhouette created draws upon architectural drawings and geographical locations that embody or symbolise comfort and ease, infusing elements of German craftsmanship with the cosmopolitanism of her newfound home in Dublin. When asked about her move to Dublin, Rave described it as a place where individuals were “quick to make [her] feel at home”. Through her creations, Anna Rave invites us on a transcendent journey, blurring the boundaries between past and present and tradition and modernity to redefine the very essence of home in the realm of fashion, utilising a neutral colour palette with block colours and structural, geometric shapes which create her distinct works. The following interview has been edited for precision and clarity.

How does the cultural and artistic atmosphere of Dublin influence your design aesthetic?

Dublin has influenced my design aesthetic in multiple ways. I find the numerous creatives in various areas and within such a diverse range of creative endeavours and direction very in-

spiring. The close proximity between a busy city environment with old and new architecture and the amazing nature and sea inspires my pieces.

Moving away from my home in Germany to establish a new one in Dublin made me think about the characteristics and definitions of the concept of home. The differences and similarities, what made me feel comfortable, and what gave me a feeling of belonging are all considerations that are central to my designs. Throughout all my projects home is an ongoing theme which led to my degree collection Heimat Heimat was the foundation of my own brand ANNA RAVE, and is a German word without a direct English translation that describes the feeling of home, a homeland, or a sense of belonging.

Can you describe your journey as a fashion designer in Dublin and how it has shaped your approach to clothing design?

My journey in Dublin is a fairly new one and has only started a few years ago, when I moved here to study at NCAD. Dublin has definitely influenced my approach to clothing design. I gained so much knowledge during my course but also from Dublin itself and the various ways that people use clothing as a means of freedom and self-expression.

What inspired you to pursue a career in fashion, and how has Dublin played a role in nurturing your passion?

I have always been fascinated by the world of fashion and design. I think that being able to bring ideas to life and making something that can always be present in individuals’ lives in some form is so special. When I was younger, my granny gave me her old sewing machine as a Christmas present and it inspired me to start creating clothes.

From my first attempts of bed sheets and pillows to my graduation dress and tailored trousers, the sew-

ing machine is still one of my favourite machines to use because of its sentimentality. It has been a part of my entire fashion journey thus far and I hope that it will continue to work for many more years.

Dublin has played a central role in nurturing my passion. I moved to Dublin in 2019 to start studying at the National College of Art and Design (NCAD). Even though I have always been passionate about design, learning about design in a professional, academic way made me discover so much more about its possibilities and career opportunities.

I am so glad that I moved to Ireland as it has provided me with so many opportunities to flourish as a designer. By studying fashion, I have expanded my knowledge and refined my personal design approach and direction. I hope that this will continue in the future and my own brand will develop even further.

Can you share a memorable moment or experience from your career as a clothing designer in Dublin?

I immediately think of two moments. The first is when I sold my first felted knit jumper. The other one was when I had my pop up shop at the beginning of December. Even though it was only temporary, being able to open up a shop in the morning and place a sign with my own name on it felt so surreal. The whole day was so exciting and an amazing experience as I got to meet customers in real life.

What challenges have you encountered in the Dublin fashion scene, and how have you overcome them?

One of the main challenges I have encountered so far is the distance to a lot of things. Materials in Ireland are quite limited and it can be really hard to find the right materials locally. Most materials can only be found abroad and have to be imported, which makes it a lot harder and a much longer and more complicated process. Even though it is not that far away from cities known for their fashion, Dublin’s fashion scene can also feel quite remote and distant but this also has a beauty within itself.

How do you integrate sustainability and ethical practices into your clothing design process?

Sustainability and ethical practices are really important to me. When I design

clothes I aim to create timeless pieces and not trends. They must be practical, wearable and long-lasting. I work with deadstock fabrics and as many natural materials as possible, aiming to work with local suppliers and I make all the pieces by myself, so everything is locally made.

For my knit pieces I only use pure lambswool, ensuring I use only natural materials and minimise waste.

Ultimately, I believe that as a designer creating new garments, I must embrace the responsibility of ensuring my practices are as sustainable and ethical as possible.

What role do you believe Irish heritage plays in the global fashion landscape, and how does your work contribute to this narrative?

Irish heritage plays a big role in the global fashion landscape. Looking at the current success of Irish designers and artists around the world is proof of that. Ireland has always had a very unique history which significantly influences its creative scene. The breathtaking nature and landscape inspires people all over the world. I hope to contribute to this narrative by keeping handmade and craftsmanship alive, as well as promoting the benefits of natural materials, high quality and long lasting designs.

Can you walk me through your creative process,

from initial concept to the finalised piece?

The initial concept and inspiration of my brand and collection is based around Heimat. I try to capture this — the feeling of home that is not tied down to a defined place. Heimat describes a safe space of belonging. I have lived in multiple different countries around the world and drew my inspiration from travel journals and architectural drawings of various homes, clean lines from housing structures, and street maps. My collection communicates comfort, safety and shelter. Each piece is unique but is also practical, wearable and long-lasting.

Looking ahead, what are your aspirations for the future of your fashion brand within Dublin’s evolving creative industry?

The saturation of talented artists and designers in Dublin’s creative industry offers endless opportunities and I think with its growing recognition there will be even more in the future.

That said, my aim for this year is to continue to connect with talents from different disciplines, and to engage and contribute more to Dublin’s fashion scene through pop-ups. I am also really curious to explore and gain more knowledge of traditional crafts and new techniques with the hope of utilising these to develop new designs and grow my brand, ANNA RAVE.

PHOTOS BY ANNA RAVE

Speaking With: No Clú Collective

Laura O’Callaghan

THEATRE EDITOR

With a sold-out debut show at Scene and Heard festival under its belt, No Clú Collective is widening Dublin’s perspective on what theatre can look like. Co-founded by Clara Sinclair and Louis Maxwell as a space to facilitate the development of their show, how do you remember me?, the collective finds its niche in telling authentic, human stories through experimental physical theatre and dance. Founders and childhood friends Maxwell and Sinclair sat down with The University Times to chat about the risks involved with experimental theatre, how to find fulfilment in your passion, and if an audience member needs to be ‘dance literate’ to appreciate the collective’s work.

Sinclair approached Maxwell with the idea to produce her show, how do you remember me?, and the pair decided to take it one step

further and create a collective to house their collaborative work.

During our conversation, Maxwell stressed how important it was for them to have a single brand identity for the longevity of the venture. The intention being to neatly avoid the social media affliction of an account living “for two months” before it “goes and dies”. No Clú, a name cleverly hinting at the freshfaced nature of the group, ‘clú’ meaning reputation in Irish, was attractive to the pair for several reasons. Other than a subtle genuflect to Reputation, Maxwell’s favourite Taylor Swift album, Sinclair described the incentive behind the name as holding a mixture of “colloquial Irish-isms”, and a playful irony that really summed up the work they intended to do with No Clú.

Every young adult in Dublin is familiar with the sinking feeling that grows in your gut when a pal, acquaintance or stranger begins describing their five-year plan. When every other person seems to

have secured another wonderful new internship for the summer, having a million possibilities but no solid end goal can feel flimsy and breakable. Sinclair’s diligent trial-and-error path to discovering that choreography gave her the best sense of fulfilment in life speaks to the merit of having a fluid approach to the future. After finishing her degree in Barcelona studying musical theatre, Sinclair decided to pivot into dance and worked freelance teaching choreography. After a four-month stint training at Broadway Dance Centre in New York, she was certain where her ambitions lay.

To speak or to die? To die is favourable when it comes to her work, according to Sinclair. She and Maxwell spoke on audience agency in unconventional theatre and their ongoing debate on whether words should be included in their plays or not. From an outside perspective, the prospect of understanding physical theatre makes for an intimidating evening

out. But Sinclair promised that it isn’t required that an audience member be ‘dance literate’ for them to engage with her stories. Defending her vetoed stance on their debate, Sinclair felt that the omission of words in how do you remember me? “lent itself to the fact that the story was complicated”. With various perspectives and changing timelines, inspired by a “hodgepodge, a melting pot of a million different things that I’ve witnessed”, sharing a “strong kind of a map” for the audience to follow and giving them that freedom to interpret was a strength of the show.

Gauging audience reception is a huge part of Scene and Heard, and Sinclair and Maxwell were comforted to know that, yes, the audience had gotten it. That’s one for “sad girl synth pop” and zero for words. Maxwell shared his wish down the line to develop and collaborate with a composer “depending on funding”. Sinclair agreed, saying that “the sound that

The Visual Art Legacy of Post-Celtic Tiger Ireland

Maisie Greener

ASSISTANT RADIUS EDITOR

Most talk about Ireland’s Celtic Tiger era has concentrated on its indelible economic aspect. The term ‘Celtic Tiger’ needs little introduction but, in a nutshell, it encapsulates the country’s boom years between the late 90s and early 00s. A synergy of increased labour productivity, slashed corporate taxes and foreign investment produced the phenomenon which saw Ireland’s economy grow 229 per cent between 1987 and 2007. 2008 saw the Irish economy’s untimely, although perhaps inevitable, collapse. Deregulated banking, excessive building and fevered consumerism evidenced an inordinate trust in Ireland’s economy and ultimately was its hubris.

Ireland’s artists responded to this national loss with a sensitivity and nuance that cannot be articulated by statistics. Despite an artistic association of Ireland with its landscape, the notion of a neat and undisturbed relationship between the Irish and their land was long ago dispelled. Colonialism and a history of emigration ne-

cessitated a revised definition of Irishness that wasn’t fully based on physical land. Technology and globalisation have further transformed ideas of national identity, with tokens of Irishness now reaching every corner of the globe. The Celtic Tiger has been no exception as the period delivered maximum change to Ireland’s landscape. This change was twofold, marked by addition and depletion. Abandoned building sites littered the land while scores of citizens left the country. Between 2008 and 2012, emigration more than tripled. The artists Anthony Haughey and David Monahan captured these developments respectively: Haughey’s ‘Settlement’ series framed the Ghost Estates as ruins and Monahan’s ‘Leaving Dublin’ project archived hundreds of emigrants’ stories. Both reveal a post-Celtic Tiger Ireland.

The title of Haughey’s photography series, ‘Settlement’, exudes irony. It connotes success, stability and security; abstractions which starkly contrast the post-Celtic Tiger actuality. Inhabitants are an essential component of ‘settlement’, however, the viewer will find people entirely absent from the series. Each photograph features a token of man’s interference in the envi-

ronment. Scaffolding, cranes and floodlights were once redolent of expansion, however, in a post-rash context, they have come to symbolise trespass and encroachment. In several images, Earth itself has been displaced to accommodate new houses. Moved to the margins of shots, heaps of soil seem to indicate an incompatibility of such excessive building with the landscape. Structurally, Haughey himself outlined that “the combination of darkness, artificial light and long exposures draws attention to the effects of development on the natural environment by reducing each photograph to the key elements of land and man made constructions”. By reducing the photographs to the manmade and the natural, Haughey seems to set them in opposition. The landscape appears familiar, yet also foreign. The greyness and haziness, resultant of fumes and dust, are at odds with the Irish myth of greenery and brightness. Through this aesthetic contrast, Haughey achieves a conceptual one too. Unrestricted development threatened the myth of the unspoiled landscape that contributes so much to Ireland’s identity. In October 2011, there were 2,946 unfinished estates across the country, 777 of

FROM HAUGHEY’S ‘SETTLEMENT’

which met the criteria of ‘ghost estates’. Haughey’s documentation of a handful of these ostensibly depict the collapse of the Celtic Tiger economy. Conceptually, they question the Irish people’s relationship with Irish land.

The title of Monahan’s project is more direct than Haughey’s; ‘Leaving Dublin’ is brazen in its address of emigration. He understands emigration as a descendent of exile, both of which have proved themselves elemental to the Irish reality. Critic Valérie Morisson finds the portraits’ chiaroscuro install them with a classical quality, perhaps establishing

we have at the moment is definitely correct, but we’d love to get our own music to make it our own story completely”.

The misconception that an audience is bound to feel out of their depth when faced with physical theatre remains, and investors are reluctant to take major risks when it comes to dance. Maxwell described his frustration at seeing the same people get the same opportunities and how he’d love to see more risks being made when it comes to funding to “give new voices the chance to grow and get better.” Movement-based storytelling is a creative challenge, a collaboration between the writers, the dancers and the audience to create a unique experience out of every performance: “It’s about adapting it and communicating in a different sense.” Sinclair and Maxwell look forward to developing how do you remember me? in the future and telling many “weird and wonderful” stories that challenge the parameters of conventional theatre.

ties between the post-Celtic Tiger emigrant’s condition and that of previous generations. Modern architecture and outfits, however, configure the photographs in the 21st century and remind that the emigrant experience post-2008 is vastly different to what it once was. For every nervous-looking subject, Monahan captured their confident counterpart. Some subjects smile while others are positioned proudly leaning on their suitcases. This variation in the subject’s poses and dispositions testify to the oscillating optimism and pessimism of 21st century Ireland. Each subject, however, is placed in a three-quarter view or frontal stance. Their backs are unequivocally turned on a Celtic Tiger Ireland. Morrison also finds Monahan’s compositional decisions to give the photographs “some universal potency” as “the careful positioning of the sitters in the landscape, the neatness of the vanishing points, the geometrical structure and strong lines framing the characters, as well as the matching colours of clothes and landscapes, all contribute to emphasising the relation between the city and the sitters”. Through these stylistic choices, Monahan clarifies that post-Celtic Tiger Ireland is averse to the Irish people.

servations because I probably forgot, it was done when I woke up. Stop reading this article right now and skip to one of her articles – they never disappoint. Maisie, you are a shining star, dear, I hope to be lucky enough to meet you in person rather than through a screen. So Barrett, Maisie and I rebuilt Radius from the ashes.

« CONTINUED FROM PAGE 1 fectly within the pretty pages of the broadsheet, it is jam-packed with so much content from our editors who work day in and out to get articles out. Do you know how hard it is to get nearly 20 people in a room? It is not as easy as you think, I will tell you, but we did it, and I am proud of each and every one of you. For most of them, it was their first time in student journalism. To all of them – I hope each of you continues to pursue your writing in the future and that you have taken something away from your time here, even if it is an old issue which will sit in the bottom drawer of your parents’ kitchen.

Now the two things I don’t think anyone knows are what Radius is and how many goddamn writers we have! Firstly, it is concerning that you are reading this article and need to understand what Radius is, but let me answer you: Radius is The University Times Dubin-based lifestyle and culture supplement. I am glad that we are all now on the same page, page one to be exact. So, next year, when you send a pitch to the Radius email, please make sure it is Dublin-based because I can already hear the weeps of the future Editor having to remind every single one of you.

As someone who is weirdly attracted to anything Dublin-centred, such as books, TV shows, movies, you name it, this job was right up my alley. This is the case for the eight sections of the editors we have, which answers your second question. Although the supplement fits per-

Our team has produced an accumulation of excellent articles on fashion, art, theatre, food and drink, literature, music, societies, as well as film and TV. Now, I am not picking favourites, but I am. Let’s recount my top picks from each issue. The first issue was in September – I remember being so overwhelmed that I could only imagine what the higher-ups felt like. I have two

“This final week brings mixed emotions: sadness, relief, apprehension and excitement.

honourable mentions from this issue: Sadie Loughman’s article on Dublin’s jazz scene immediately jumps to mind. Our Music Editor touches on the importance of keeping jazz within the

streets of Dublin alight while retaining its complex history. It is such a compelling read, and she blew me away with her writing style, a phenomenon which has happened in basically every issue since. Another mention is Clara Potts, our Fashion Editor, whose investigation on how to upstyle your college wardrobe fits so perfectly with the issue’s theme of returning to campus, nicely stressing the importance of keeping a sustainable wardrobe.

We continued into October, and our Art Editor, Elly Christopher, took the crown with her article on the Sarah Purser exhibition at the National Gallery. Such an interesting take on the impact of portraits and the reflections of the artist’s past within her work. By November, time was flying by so quickly with our third issue. Mr Ellis, I applaud you: his interview with Blindboy was hands-down one of the highlights of Radius this year. Side note: he wrote this on the train to Belfast the weekend of print so that it would be done in time. Our Food and Drink Editor, Ella Parry, wrote a heartwarming article on German Christmas cookies, including a nifty recipe to recreate them at home. In it, she also explores the home comforts you crave while living abroad during the holiday season. I loved our gift guide, which replaced the usual guide to events in your ‘radius’. January came around and there was not much gas left in the tank, but we continued. Laura O’Callaghan joined the circus, stepping into the shoes of Theatre Editor, and smashed it. Her piece exploring adaptation in the theatre was such a good read. She incorporated different stage adaptations in Dublin’s theatre scene, bringing fresh insight to the section. A notable piece in the Societies section was Eloria Abramson’s interview with the curators of the Zora Zine, DUGES’ new publication. As we drew into February’s season of love, the literature section did a smashing job. Both Sarah Browne and Molly Wetsch dove straight in to review and dissect the new releases in the Dublin literary scene. These are only a tiny sample of

the amazingly curated articles that have been produced by the Radius staff this year. I want to say thank you from the bottom of my heart to each and every one of you. It has been such a pleasure to read your work this past year. You are all capable of things beyond measurable –keep being extraordinary.

As we move back to the present, I am writing this article on my laptop from the couch in my family home. With only one week left at Trinity, I’ve submitted my dissertation, and the end is drawing impossibly close. This final week brings mixed emotions: sadness, relief, apprehension and excitement. I want to thank Clara for giving me this job and believing in me. I hope I made you proud in some capacity, I could never have asked for a better leader and friend. To Sáoirse, Alex, Phoebe, Barrett and Maisie, I admire each and every one of you so much: I read your articles and wonder if I’ll ever be able to produce something that good in my life. Most importantly, you are all such kindhearted and ambitious people, thank you for everything. Lastly, to you, dear reader, thank you for coming on the craziest, most rewarding journey I have ever accomplished. I hope you have enjoyed reading Radius this year. To next year’s editor, enjoy every moment because one day, you’re sitting on Zoom being interviewed for the role, then you blink, and it is all over. Savour the moments because they are something you will never forget.

As the ink dries on this paper, a chapter closes. Until the next volume of our literary journey my friend.

With love, Ella

PHOTO BY SINÉAD BAKER FOR THE UNIVERSITY TIMES

PHOTO BY EAVAN MCLOUGHLIN FOR THE UNIVERSITY TIMES

A Conversation with Trinity Musical Theatre

EDITOR

Following the annual Central Societies Committee (CSC) awards, at which over 15 societies and individuals were recognised for their hard work and accomplishments, I sat down with Lily Kate Hearns, chairperson of Trinity Musical Theatre Society (TMT). TMT received eight nominations at the 2023 CSC awards and took home three, including Best Individual for member Erica O’Reilly, Best Medium Society, and the coveted award of Best Overall Society.

Hearns describes the Trinity Musical Theatre Society as “a space on Trinity campus for people to share their love for musical theatre. It’s a place to make friends, it’s a place to challenge yourself and explore your abilities in the theatre world”. She spoke of many highlights from the past year, naming the brightest as their show week for Carrie, this year’s annual musical. Hearns described it as “an amazing success” explaining they had sold out two shows for the first time ever. She also mentioned the intervarsities theatre competition TMT had just returned from and where they had taken home first place for Best Overall Show for the second year in a row.

The CSC awards were an additional highlight, with Hearns calling it an “unbelieving amazing night” as well as “exhilarating and very unexpected”. She explained the award of Best Overall Society meant “a lot to us this year”. She recalls the first few meetings of the year in which the committee set goals for themselves and the society, one of which was to win just one award at the CSC awards. “We said we’d love to win Best Event with Carrie, or go for Best Medi-

um Society, like that would be the peak. To win Best Overall Society was such a shock”. Hearns goes on to say that winning the award was “really really rewarding” and that, as chairperson, she got “extremely lucky” with her 2023-2024 committee. She speaks with pride of their commitment to the society, telling me they worked all throughout summer and winter break, with just three weeks off. She says that it was “really rewarding to see that work be acknowledged and recognised”.

As for the society as a whole, Hearns explained that having just been established eight years ago, TMT is still a young society and one that was heavily impacted by COVID-19. She further notes: “it meant a lot to the society to see ourselves gain a big space on campus this year and to be recognised as a society beyond just the small niche group that has an interest in musical theatre.”

I ask Hearns what’s next for the society. She tells me that, with their AGM coming up on April 11th, the current committee will be “handing over the baton to the next group”. Although this past year has been highly successful in terms of awards and student goals, next year will hopefully be “TMTs time to expand and create more space in the society for people to get involved and have fun”. She continues, “I feel like we’ve had this year to really establish ourselves and I think next year is about keeping that up but having a bit of craic while you’re doing it”.

In this vein, I ask Hearns how people can get involved. She explains that there is the main show that is put on each year, which is the primary focus of the society and what brings in most of their members. She adds that this past year in particular “we wanted to find a way to include more people in TMT so we set up our separate perfor-

mance team”, which is run by TMT’s Outreach Officer Hannah Roche. She says they had a few gigs around Christmas time and is hoping that this feature will continue. “It’s a lot more of a relaxed way for people to get involved”. She adds that the intervarsity shows are another great way to get involved as well sub-committees, workshops and coffee mornings.

Hearns says that TMT also introduced a newsletter this year run by one of the OCM members, Luke Reid, which she hopes will expand in years to come, with members being able to write reviews of shows they’ve seen and so on. She says, “we really want to see it grow. Not everybody wants to be on the stage. For people who just have an interest in theatre, it would be a cool way to have people send stuff in and write a little about what they’re interested in”.

Recipe: Beetroot Chocolate Cake

Iadore chocolate cake. So much so that I’ve tweaked some of its ingredients in an attempt to make it a little healthier. You’ll find this revised recipe below. Beetroot, for example, is packed with iron. Health benefits aside, I genuinely prefer this version to your standard chocolate cake. It is full of flavour and has a lovely, juicy consistency. If you don’t believe me, don’t have to take my word for it, try it yourself!

Ingredients:

• 200g butter

• 200g dark chocolate (I usually go for 85% cocoa)

• 250g beetroot (you can get this precooked at any supermarket)

• 5 eggs

• 3 tbsp cocoa powder

• 200g sugar (I prefer brown sugar)

• 1 tsp baking powder

• Vanilla extract

• 250g ground almonds (of course you can use normal flour, if you prefer)

• Salt

Method:

1. Melt the chocolate with the butter in a bowl over hot water. When melted, leave it to cool.

2. Blend the beetroot. If, like me, you don’t own a blender, you’ll have to succumb to the humbling task of grating it. My sincere apologies to your hands

3. In a bowl, whisk eggs with sugar. Add cocoa powder, baking powder and vanilla extract.

4. Gradually add the cooled chocolate mixture to the bowl. Then gradually whisk in the almond flour and salt.

5. Put the batter in a cake tin (I line mine with parchment paper). Bake at 190 Celsius for 50-60 minutes.

6. Allow to cool and serve!

If you’d like to add frosting, I’d highly recommend the New York Times Cooking Earl Grey frosting. It’s absolutely breathtaking. Enjoy and save a slice for me!

We end the interview with Hearns describing Trinity Musical Theatre as a “really special society”. She says she has “never seen a group of people so passionate in my life”. She calls this “entirely” the reason behind the society’s success this year, calling it “magical” and saying she cannot recommend joining and participating in the society more.

Other big winners at the CSC awards include the Law Society, the Trinity Cancer Society, and the Afro-Caribbean Society.

In a statement to The University Times, the Law Soc called the CSC awards “a testament to the massive work put in by every single one of our committee members”. They added that “society life is one of the things that makes Trinity such a fantastic place to study and while we’re grateful for the award, I think a huge amount of credit is deserved by all the societies for their phenomenal effort this year”. Trinity Cancer Society echoed this sentiment in their own statement, saying “we’re absolutely delighted. A lot of work went into making this one of our busiest years yet so it’s great to get recognition for it. We also want to thank all the people that have donated this year and all the clubs and societies that volunteered as models for our Naked Calendar!”

In their own statement to The University Times the CSC noted, “Regardless of taking home specific awards, societies have had a really strong year and have been putting in amazing work in making Trinity a fun and welcoming student experience, and the Society of the Year Awards are a way to recognise that… The executive was very impressed by the standard of presentation which was extremely high, and thankful to all students that presented their ideas and showed passion and dedication to society life in Trinity”.

SOCIETIES

Eliora Abramson

PHOTO VIA @TRINITYMUSICALTHEATRE ON INSTAGGRAM

PHOTO BY ELLA PARRY FOR THE UNIVERSITY TIMES

HE USED TO BE ME

ANNE WALSH DONNELLY NEW ISLANDS BOOKS

Reads

From the acclaimed Irish poet Anne Walsh Donnnelly comes this form-bending story in which fiction and poetry merge. In this beautiful and devastating new story Daft Matt, the Mayo man at its heart, wanders the streets of Castlebar in search of Devil’s feet – the claw marks of the cága, or jackdaws, who have spoken to him since he was a boy. Yet Matt is anything but daft. In extraordinary prose, Walsh Donnelly explores the complex workings of Matt’s inner life, how he deals with the loss of his twin brother as a child, navigates the carefree days of early manhood and copes with the aftermath of the horse riding accident that would see him incarcerated in the care system for the next thirty years. Richly imagined and beautifully written, this is a story for anyone who chooses to look beyond the surface of things.

OLD ROMANTICS

Maggie Armstrong TRAMP PRESS

This debut book from a regular contributor to literary journals is already making waves ahead of its publication. A woman pursues a man who cut ahead of her in a line. Two nice people report that a child is being left unsupervised at a local beach. Romances, old and new, shift and sour. Old Romantics is an acutely observed and hideously entertaining collection of linked short stories from an astonishing new talent. Slippery, flawed and acute, Maggie Armstrong’s narrator navigates a world of awkward expectation and latent hostility.

HABITAT CATRIONA SHINE LILLIPUT PRESS

Another intriguing debut novel, this time from emerging talent Catriona Shine. Habitat follows seven people over the course of a week as their mid-century apartment building in Oslo inexplicably disappears. Although the neighbours are connected in a multitude of ways, they fail to grasp that this is a shared crisis. The neighbours, in turn, blame and reach out to each other, never seeing the full picture. Examining the evasive responses of these neighbours, their troubles and short-comings, and the lies they tell each other and themselves, and comparable to Kafka’s Metamorphosis or Eugène Ionesco’s Rhinoceros in how people respond to an uncanny situation, Habitat is a striking debut to look out for and a parable perfectly fit for our uncertain times.

Sustainable Theatre at the Lír

Laura O’Callaghan

THEATRE EDITOR

The endeavour to forefront environmental awareness in the public eye through art was taken on by the creative team at The Lír this March. Running from Saturday, March 23rd to Wednesday, March 27th, The Lír produced an ambitious take on Simon Stephens’ Punk Rock. At face value, the production is not what you’d imagine sustainable theatre to look like. It was slap-dash and interesting, and that was key. Nothing in the finished product gave away the months of planning, manpower and resources that went into producing this particular play. Sticking to the commitment made in The Lír’s Sustainability Policy and Action Plan, at every stage this production abided by the Theatre Green Book’s baseline standard, creating a spectacular show with sustainability at its core.

The University Times sat down with Tom Creed, the director of Punk Rock, Catherine Fay, the production’s costume designer, and Sinéad Wallace, the Lír’s acting sustainability manager, to discuss the reality of executing a successful Green Book show. The Theatre Green Book is an initiative set out in three volumes to foster a circular economy in theatre-making. Though already implemented in the UK’s three national theatres, this will be the first production in Ireland piloting the baseline standard of the Green Book. Sinéad Wallace described the initial review and assessment process she undertook in 2023: “In those eight months we started by looking at other schools and similar organisations and looking at their policies and how established they were”.

The discovery of the Theatre Green Book during this review period was an invaluable one, and meant that The Lír could immediately get stuck into the implementation stage of their sustainability ambitions, “We had essentially a guidebook for how we could do it”. With a willingness to jump right in and work out the kinks as they arose, Wallace and the team began to apply the Green Book structure to working practices at the Lír.

Punk Rock was not the obvious first choice for a Green Book pilot show at The Lír, but it was the right choice. Originally performed in The Royal Exchange in Manchester back in 2009, the play explores the innumerable pressures facing a group of students in a fee-paying school as they prepare for their mock exams. A far cry from Paradise, The National Theatre’s exemplum for a Green Book show in action, eco-anxiety is not the primary, nor even a secondary concern of the plot.

Director Tom Creed addressed this disconnect between content and working practices saying, “we also thought, given that this was going to be the first sustainable show, you know, let’s maybe not do a show about environmental collapse”. With a fully realised set, a study room with lived-in shelves and a stark white ceiling with fluorescents that would transport you straight back to your school days, Creed and set designer Paul O’Mahony displayed the versatility of the Green Book for Irish theatre makers. The slick production shows “that you can make a show and actually you don’t have to compromise on what you’re trying to achieve aesthetically and do it within these parameters which are so important”.

Creed recalled various pieces he saw at the Avignon festival last July which moulded the traditional structures of live performance to allow for an eco-dimension. Softening the edges of expectation an audience member is predisposed to when entering the theatre, the space itself was stripped back, “there was a whole series of performances that happened in nature”. Though favourable weather is a slight pipe dream for the Irish, the work done at Avignon marks another way creative vision can be preserved while also engaging with the natural environment in theatre.

The Lír has a responsibility to guide their students and their audiences on this journey to realise a sustainable future in theatre. Creed talked about the incredible capacity shown by the students working on Punk Rock to absorb this shift in practices, “and that’s the crucial thing, this is how we embed those practices in the future of Irish theatre and world theatre, it’s by training the next generation of technicians and costume supervisors and scenic painters to internalise those things.”

Wallace also speaks to the importance of prioritising the people, the theatre makers, to maintain the future of this initiative, “It’s very much that idea of a

circularity but with people at the centre and the idea of human sustainability running alongside environmental sustainability”.

Theatre is not a root cause of the climate crisis. But the practices previously depended upon, the ‘do it now’ build-things-from-scratch-just-totear-them-apart practices, have lacked sustainability. To feel out of depth in the face of affecting any change at all this late in the game and in such a tangential area as the theatre industry is natural. Wallace speaks to this insecurity and describes how the power of theatre has always resided in story tellers’ tendency to focus on a moment where time explodes, “So much great theatre is written about that moment of transition from thinking in a traditional way to thinking in a new way about a topic… So a lot of work that already exists can already be told through the lens of climate activism or through this moment in time, this climate crisis and how we respond”.

Along with a leap of faith and creative diligence, all of these ambitions desperately need investment. Catherine Fay, Punk Rock’s costume designer, stressed the necessity of investment as well as “space and time” in completing the circuit of a sustainable economy. You can have the best makers in the world to build and work sustainably, but Fay points out that the money must be available to hire these workers. Investment is the key to ensuring that “The show doesn’t end at the Get Out”, as Wallace puts it, and that materials will go on to be carefully taken apart and reused countless times over. Creed acknowledged that with current practices we’ve ended up in “a theatrical equivalent to fast fashion” where it’s cheaper to throw things out than to keep them. The question now is “How do we affect that kind of mind shift practically?” This production’s response: investing our time, care, and funding into the future of sustainable theatre.

PHOTO VIA @THE__LIR ON INSTAGGRAM

Bach and Better Than Ever: the Success of Trinity Orchestra

EDITOR Sadie Loughman

Classical music and orchestra remain in the zeitgeist, with Bradley Cooper’s 2023 film Maestro, based on the life of composer Leonard Bernstein, receiving critical praise. If your TikTok is anything like mine, you may have come across a video of a young Hozier singing an impressive cover of Pink Floyd’s ‘Time’. What’s more, in a recent interview with bona fide music TikToker Track Star, Hozier revealed that this 2012 performance was alongside Trinity Orchestra during his time as a music student.

Trinity Orchestra is Ireland’s only entirely student-run orchestra. Founded in 1989, and with seventy-four current members, the orchestra’s repertoire ranges from the songs of Beethoven and Rachmaninoff to pop sensations like ABBA. The group operates as a full scale symphony orchestra, with every section from strings to wind to brass. The society’s success highlights the devotion of the younger generation toward classical music, successfully melding pop music with their orchestral performances, and booking gigs across Ireland and overseas. I caught up with Trinity Orchestra’s auditor and chair Emily Sheil to chat about the society’s successes throughout the academic year.

Sheil, a final year Environmental Science student, explains the general functioning of the society throughout the year: “During the academic term we focus on a classical repertoire and we put on a concert at the end of each semester. Then over the summer we lean towards our pop repertoire - we normally start off with Trinity Ball, which is coming up, which we’re really excited for! Then we play festivals throughout the summer.”

In my curiosity, I ask Sheil how the orchestra goes about adapting these modern pieces for a symphony orchestra. “Around this time of year we’ll decide on a new theme for the summer.”

Sheil explains, “Our current one is ‘pride’, and the year before was ‘new wave’. We’ve had things before like ABBA and ‘funk’ so there’s a big variety of pop genres. So we decide on a theme and then we create a playlist with some of the biggest hits from that theme that we can

envision being played by an orchestra. Then we commission between four to six composers, all of which are Trinity students inside and outside the orchestra”.

The process of composing an entirely new song from the pop genre to be played by an entire symphony orchestra is an impressive feat, as Sheil describes: “All they have is the track and an empty score, and people are so talented – they can just write a full score for a full orchestra.”

“

about. “Honestly we just got an email from the same people who organise Forbidden Fruit and All Together Now. I guess they like us! We have a reputation and try to be as professional as possible and they just asked if we would do another gig this summer. It’s a really big compliment to us.”

I ask Sheil how the orchestra

Trinity Ball because right now all of our focus is on our classical repertoire. But we have two rehearsals and we’ve played the music before so it’s just going to be a matter of paying attention in rehearsal and getting it together. The pop music rehearsal is different because we bring in a band and singers so there are some unconventional instruments like a drum kit, a bass guitar and keyboard who don’t usually play with us.”

Sheil explains that the rehearsals can be quite intense – with a full sound system, microphones and new additions to the orchestra. If you were lucky enough to get a hallowed Trinity Ball ticket, it’s worth taking a moment to appreciate the hard work that Trinity Orchestra have put into their set in such a short space of time.

In terms of future prospects, Sheil says the main goal of the orchestra is to simply keep up the momentum and motivation.

All they have is the track and an empty score, and people are so talented – they can just write a full score for a full orchestra.

Pop songs also allow for a lot of variation in the style, tempo, length and key of this new orchestral interpretation. Sheil is strong in her admiration for these composers each year, many of whom come from Trinity’s own music department. “We’re really grateful for our arrangers, they’re such talented people.”

In terms of their festival sets, Sheil explains that Trinity Ball restricts the orchestra to a thirty-minute set. However, in playing Forbidden Fruit and All Together Now, the orchestra has an hour-long set. “We play two different sets for each of those festivals”, Emily explains. The orchestra continues its practice outside the college semester, producing completely new and perfected performances over the summer months. Alongside this festival lineup, Trinity Orchestra will also be opening for the iconic rock and roll singer Rod Stewart in May.

“It’s so crazy,” says Sheil, describing how the opportunity to open for Rod Stewart came

is preparing for Trinity Ball, with what has been named ‘Europe’s largest private party’ approaching quickly. “We have a really busy April because we have our classical concert on Saturday April 6th and then the following Friday is Trinity Ball. So we have one week to prepare for

“It’s an interesting society in that we are strict on attendance and we do ask people to show up every week for rehearsal, while in other societies you might come and go as you please. So that motivation is really important… I guess overall we want to have a good summer season and come back in September stronger than ever.”

Looking back on the past aca-

demic year, Sheil highlights the versatility of talent within the orchestra as well as the strong bonds forged among its members.

“I know a big highlight for us was, just thinking back in September, we did a culture night event. We got an opportunity to perform not as a full-scale orchestra but as smaller groups, which was a really lovely way of showcasing the individual talent within the orchestra. Not only that but we got to explore lots of different genres. We had a group playing trad, a group playing pop music, so it was quite a broad showcase of talent which was really nice.”

In reminiscing on the events of the past academic year, the conversation moves to the orchestra’s Glasgow trip in January, which had some slight hiccups.

“We did a collaboration concert with Strathclyde University Symphony Orchestra. The concert went really well, the whole trip went really well – until we tried to get home and there was a storm and our flights were cancelled.”

Sheil recalls the day as very stressful, trying to figure out how on earth to transport around fifty players, along with their instruments, back to Dublin. As Storm Isha raged on, the auditor found herself tasked with finding another two nights of accommodation and new flights home for a horde of students. However, the stress of the events made Sheil all the more grateful for her fellow members.

“Everyone was so willing to help, even the members who aren’t on the committee. It’s kind of one of those times where you’re put in a stressful situation and everyone ends up bonding more.”

Trinity Orchestra has evidently moved from strength to strength. For those interested in joining Trinity Orchestra next academic year, Sheil advises getting to the Freshers’ Fair stand as early as possible.

“We do have limited audition places and it is competitive to get into, so I would recommend having something prepared for your audition in September.”

The orchestra’s second semester performance will be held on April 6th at 7pm in the Trinity Exam Hall, and you can catch one of the orchestra’s pop performances over the summer at Forbidden Fruit, All Together Now and Rod Stewart.

MUSIC

PHOTOS VIA @TRINITYORCH ON X (FORMERLY TWITTER)

A Look Back on Campus Couture

ASSISTANT FASHION EDITOR Hanna Valila

Whether it’s the sneaky candid videos on TikTok or the posts on their Instagram, you have probably seen Trinity‘s Fashion Society’s weekly Campus Couture. Showcasing the outfits worn on campus by Trinity students, Fashion Soc‘s initiative has even inspired other colleges to follow suit. At the beginning of the academic year 2023/24, Eloise Sherrard took a deep dive into the background and logistics of Campus Couture in her interview with Fashion Soc’s Yasmin Ryan and Ryan Bryne. Now, as the year is coming to a close, let us reflect and anticipate.

What trends did Trinity students actually wear in the infamous Campus Couture? How often were these trends worn? Which trends

were persistent throughout the year and which were just micro-fads? What can we expect to keep seeing Trinity students wear? Can we perhaps even observe an unofficial uniform? Trinity students often get advertised as a very particular stereotype. They are supposedly artsy and trendy, think viral on Pinterest – long skirts, bleached eyebrows — is this accurate?

To really get into the nitty gritty details, nothing beats an Excel spreadsheet. Having gone through the eleven Campus Couture instagram posts of the current academic year up until March, showcasing a total of 115 outfits, the results are as follows: Long skirts were by far the most popular item, depicted a grand total of 15 times, four of which were denim. Surprisingly, not a single bleached eyebrow was pictured. On the topic of hair, bows in hair can only be found four times.

Hats were popular this year – three fur hats and two berets were worn amongst a couple beanies. Fur was also popular in coats. Whilst much outerwear had elements of fur, five coats made fully out of fur can also be counted in the Campus Couture posts. Even more popular, with the second highest count of nine, were leather jackets. Next in popularity were leg warmers and fully monochrome outfits, both of which appear six times across the posts. At

this point a special shoutout must be made for the Campus Couture post from October 20th, where Ellie Goulding is pictured wearing a monochrome power suit during her visit to the Phil. Though five tiny scarves were pictured, only one sports scarf can be found. Also less common than expected are red shoes, which only appear twice. It must be noted however, that shoes are not visible for all the outfits, so this may be skewed. Double denim also only appeared twice, both

What Societies are Reading

Molly Wetsch

DEPUTY LITERATURE EDITOR

Like it or not, reading is in again. #BookTok and the Goodreads renaissance have cemented the need for college students to carry a paperback with them everywhere they go. With the increasing pressure to have good taste in literature to prove to your peers that you’re both intellectual and interesting, choosing the right book can be an impossible task. Luckily, Trinity students are known for their great taste. The University Times has turned to a few of your favourite societies for book recommendations across a plethora of genres.

The SMF

The Trinity Student Managed Fund (SMF) may be known for the hours they spend in the trading room and prowling the NYSE, but, shockingly, they have time to read as well! Committee

members are picking up a wide range of non-fiction literature. Maybe there’s a secret library on the fourth floor of the Business School? Take these recommendations at your own risk, lest you find yourself feeling the urge to buy Bitcoin “just in case”.

Chip War by Chris Miller

Looking to brush up on your history, business, and government knowledge all at the same time? The SMF are recommending you pick up Chip War: The Fight for the World’s Most Critical Technology. Chris Miller discusses the tectonic shift of the semiconductor into the modern spotlight. The book details the global sociopolitical implications of the new technology and the sequence of events that led to its prominence. Chip War is a perfect read for those who want to flex their international awareness to their peers.

Stoned by Aja Raden

Stoned is a unique and en-

gaging take on how gems have shaped the course of history. Jeweller and historian Aja Raden details eight different precious jewels that have deep roots in human history. If you’re looking for a book that will be as entertaining as it is challenging, Stoned does both effortlessly. You’ll learn about the three stages of history (Want, Take, Have) in the jewel market and, most importantly, about what shapes peoples’ desire and obsession.

DU Computer Science

The DU Computer Science Society (DUCSS) might be sequestered to the east end of campus more often than not, but their choice of literature proves that they’re not as behind the times as some Arts Block dwellers may like to believe – unless you count one book recommended that was published in the very recent year of 1651.

Leviathan by Thomas Hobbes

Leviathan is a great choice

for the reader who has a few extra hours to delve into the intricacies of the social contract. Often referred to as some of Thomas Hobbes’ most influential work, Leviathan explores the role of government, “the state of nature” as anarchy, and the structure of society. Fair warning: only undertake this read if you’ve got the time to question everything you know about modern society.

Dune by Frank Herbert

Yes, the films are all the rage right now (thank you, Timothée Chalamet!). But the DUCSS committee is clearly more dedicated than most to space politics and uncannily attractive military families, considering Dune is nearly 900 pages long. The first instalment of Frank Herbert’s epic series has been deemed “the best science fiction novel ever written” by many and, of course, has skyrocketed in popularity since part one of its most recent film adaptation was released

times in the same post! Also only two appearances were made by Adidas track jackets.

The statistically most persistent trends were unsurprisingly the two most common ones: leather jackets and maxi skirts, and the Adidas track jacket. These were pictured in the first and last posts included in this analysis. The least persistent were obviously the sports scarf which only appeared once, and the double denim, which only appeared in one post as previously mentioned. Surprisingly, bows in the hair and berets both were only photographed in a one-month window. Monochrome, long denim skirts and fur coats lasted two months, while red shoes lasted three. In second place for longevity were fur hats, tiny scarves and leg warmers, all pictured across five months.

According to these

outcomes, a leather jacket with a maxi skirt is the ultimate Trinity uniform. Fur in the form of hats, coats or and/or leg warmers is the most popular material for Trinity students. A scarf is also a good bet if you want to look like the stereotype of someone who would appear on Campus Couture. Bleached eyebrows were my only personal prediction that did not appear once. Of course this does not mean it is the only trend that was never — or rarely — captured. This list is focused on trends that did appear, and it must be noted that it was built on a very small database. A college of 20,000 undergraduate and postgraduate students cannot be summarised in 115 outfits. Campus Couture showcases a snapshot into College life. It shines light on a small handpicked selection of fun outfits and appreciates the community that Fashion Soc creates.

in 2021. Find it on the bestseller shelves at Hodges Figgis, but be warned that once you’re introduced to House Atreides, you may never go back.

Trinity Women’s Soccer

The Trinity Women’s Soccer team have made many names for themselves in recent history: fast, goal-scoring, winning. The University Times can confirm that we should all add “well-read” to that list – the team’s recommendations are both quirky and thought-provoking, proving that brains and brawn can indeed go hand-in-hand.

Tomorrow and Tomorrow and Tomorrow by Gabrielle Zevin

Tomorrow and Tomorrow and Tomorrow has, in the two years since its release, skyrocketed to the top of bestseller lists and cemented itself as a modern classic. The novel follows Sam, Marx and Sadie as they break into the growing industry of video game

design while experiencing their own lives, loves and disabilities. Tomorrow is a poignant reflection on the things that make us human, and if you love video games, you’ll love this novel – watch out for the film adaptation coming soon, as the novel’s rights have been recently acquired by Temple Hill and Paramount Studios.

Red Rising by Pierce Brown

Could this dystopian novel’s title also be a nod to the team’s (and WEFT reigning champions) red and black kits? The world may never know, but Red Rising is certainly a choice reflecting the team’s aesthetic. The first in a five-part series, the Pierce Brown novel follows Darrow, a miner, as he navigates a futuristic Mars and breaks into the lives of the ultra-rich. Said to “combine the drama of Game of Thrones with the epic scope of Star Wars”, Red Rising is a read sure to entertain throughout the dull breaks between exam study.

PHOTOS VIA @FASHIONSOCTCD ON INSTAGRAM

Portraying Otherness in The Merchant of Venice

Amélie Lundskog

CONTRIBUTING WRITER

The Mill Theatre in Dundrum put up a shortened, modern adaptation of Shakespeare’s The Merchant of Venice directed by Geoff O’Keefe between February and March with a target audience of thirdyear secondary school students from all over Ireland. The audience, made up almost exclusively of teenagers around fourteen, were studying the Shakespearean play for their upcoming Junior Certificate in June. The director and cast attempted to alter aspects of the play in order to clarify the ambiguities in the text to accommodate the audience. Many of these strategies come off as humorous, and physical comedy is emphasised on stage. However, any play largely focused on depicting the Other carries much responsibility, especially in a time where identity defines our privilege and role in society to a large extent. O’Keefe’s production leaves the audience little room for critical debate. They are instead guided clearly through the mess between Christians, Jews and foreign people in Venice.

Having the option in the curriculum to study The Merchant of Venice is an opportunity for students to grapple with the controversies of racial prejudice in Shakespeare and to bring these questions to a contemporary light. O’Keefe has consciously created a modern adaptation which features a mobile phone in addition to game show-like sound and light effects, giving the production an excellent opportunity to comment on contemporary issues of Othering and xenophobia. The portrayal of Shylock, his Jewishness and fate in society after lending his money to Antonio is particularly important in this endeavour. Unfortunately, costuming, lighting and performance simplify the radically important question of whether Shylock is a villain who uses the law to express his greed, or whether he has a genuine right to these claims in society. Instead of portraying the Christians on stage as equals to Shylock, a huge rift in cultural, economic and social standing is established. The portrayal of the foreign princes from Morocco (Aaron Katambay) and Aragon (Ruairi Lenaghen) is written off as a comedic bit to lighten the

mood. The production endorses stereotypical ideas about money-grabbing Jewish people and greed, and unfortunately makes very little attempt to redeem any of this.

The play opens with dark lights and loud, eerie music showing one man on his knees on centre stage, praying with a hat on his head and long garments falling down his sides. The rest of the cast surrounds the man, only visible in silhouette, standing perfectly still, showing the separation between the Jewish prayer ritual and the Christian everyday life in Venice. When Act I opens, we are introduced to Antonio (Ruairi Lenaghen) and Bassanio (Benjamin Reilly) who are discussing the source behind Antonio’s sadness. The lights, designed by Kris Mooney, are colourful and inviting. The audience is dragged into the relationship between the men and there is a sense of intimate fraternity between all the male characters, further established when Gratiano (Adrian Muykanovich) and Lorenzo (Ethan Dillon) enter with dancing. When Shylock (Malcolm Adams) enters, the lights go darker and provide a strong sense of separation between the Christian men and the Jewish person on the stage. From the start, the audience is not invited to understand Shylock and instead we become psychologically alienated from him. He is a lonely presence on stage – the sole representative of the whole Jewish community.

Lighting stands out once again in the riveting court scene that has the audience on their toes. Shylock is cornered by the seven Christian men on stage and can be heard mumbling almost incoherently and sharpening his

knife to cut off one pound of Antonio’s flesh as punishment for his debt. The old man is battered, but is protected by the law until Balthasar (Karen Kelly) finds a loophole in the law, allowing Antonio to go free. Once again, eerie music and dark lights intensify the villainous presence of Shylock on stage. Both Gratiano and Antonio spit at Shylock, and before he is expelled from Venice, Antonio throws off his hat resembling a Kippah, representing the forceful removal from his Jewish faith. In the last scene, when four couples are happily married in Belmont, the lights return to colour. They have been saved from the evil Shylock in Venice and the end is generically comedic but, disappointingly, leaves no redemption for the prejudice shown towards Shylock. Instead, the audience sympathises completely with the Christian men on stage and can breathe out, for the Jewish person has been dealt with.

The costumes, designed by Lisa Krugel, leave no room for the imagination of who is a foreigner, who is Christian and who is Jewish. Shylock enters the stage with long white hair and a beard, clad in a long grey wool coat, topped with a hat to symbolise his Jewishness. He is very reminiscent of a 20th century Chagallian depiction of an Eastern European Jew. The costumes of the Christian men instead look like they have been plucked straight from The Wolf of Wall Street, with Antonio wearing a suit and tie, Bassiano wearing a loosely fitted linen shirt and Nerissa and Portia wearing white trousers and vests with jumpers hanging over their shoulders. In this supposed modern adaptation, the costuming establishes

an important contrast between the Jews and the Christians, where Shylock becomes a figure from a history book. Modern is countered with archaic, good with evil and Christian with Jewish. Once again, the audience chooses to sympathise with those who represent us in the contemporary world and Shylock becomes demonised.

The stereotypical depiction of the Jewish characters becomes almost laughable when Tubal (Ethan Dillon) produces his few lines in a foreign accent, clad in a black hat and long coat, bringing to mind a traditional ultra-orthodox dress of the Jewish community, removing him from any sense of modernity. Ethan Dillon also plays the Christian part of Lorenzo, which takes an overall very different role and allows more space. The same goes for the princes of Morocco and Argan, who wear costumes clearly distinguishable from the Christians and use foreign accents, even though they are played by the same actors who portray Antonio and Lancelot. Overall, the costuming provides a clear path for the audience to follow which makes us sympathise much more readily with the Christian men and women as they are established as more than just a product of history.

The only other historical clothing on stage functions as a male disguise for Nerissa (Karen Kelly) and Portia (Eilish McLaughlin) when they wear judges’ robes and wigs in the courtroom scene to save their fiancés from the debt to Shylock. As a result, Shylock is portrayed as an expired entity. In his final scene, the forceful removal of his hat becomes a powerful depiction of the stripping of his faith before he’s doomed into expulsion from Venice. Instead of redeeming the stereotypes of The Merchant of

Venice, O’Keefe endorses it, making Shylock inherently villainous and evil and the Christian victory can be fully accepted.

The anti-Jewish prejudice is concrete and part of the scenic construction of the stage which shows the words “JEWS OUT” on the closed shutters after Jessica (Katie Killarney) has run away from her father, Shylock, to get married to Lorenzo. The letters are painted with red graffiti and the lights are dark in the night. This warning sign together with Shylock’s lamentation that “If you prick us do we not bleed? If you tickle us do we not laugh? If you poison us do we not die, and if you wrong us shall we not revenge?” are the only two attempts made in the play to emphasise anti-Jewish prejudice, but the continued downfall of Shylock and the conversion of Jessica who participates in the overall happy ending makes it difficult for the production to redeem or even criticise the anti-semitism it brings to light. The play’s commentary instead tells us that the case of Antonio is to be deemed morally correct and that the dark Jewish character needs to be fought off to restore order to society.

Even though O’Keefe frames his production as a modern version of The Merchant of Venice, it still demonises, villianises and others its Jewish characters from mainstream society through simplistic and stereotypical depictions. Especially with the young audience in mind, there is no clear redemption of the anti-Jewish prejudices of money-grabbing, greediness and evil in the show, and so there is little hope for further intellectual debate on these important issues to be held in the school classrooms. The depiction of Shylock, Tubal, the Prince of Aragon and the Prince of Morocco is limiting and harmful. This ambiguous Shakespearean comedy relies heavily on the expulsion of the Other, and O’Keefe’s production seems to say that Christian harmony can only be achieved when the Jewish and foreign characters have been expelled from mainstream society. For many school children, this might be the first Shakespeare production they have watched, and there was a huge opportunity to portray The Merchant of Venice in a contemporary light, opening it up for critical debate. With an opportunity to redeem notions of Othering, this play has only succeeded in endorsing it.

PHOTOS VIA DLR MILL THEATRE ON FACEBOOK

In Conversation With: Gustav Parker Hibbett

Sarah Browne

LITERATURE EDITOR

In late March, I sat down with Trinity student Gustav Parker Hibbett ahead of the release of their debut collection of poetry on July 4th of this year. Their talent was spotted by poetry editor, Jessica Traynor, after a submission to Issue 13 of Banshee Traynor described the collection as a “stunningly accomplished debut [which] deconstructs and redefines notions of Blackness, queerness and masculinity through the lens of myth, pop culture and high jump”.

Having had the opportunity to read Hibbett’s collection ahead of its publication, I was struck by its gravity. Hibbett’s nexus is fluidity – race, gender, desire and the body are questioned with rigour. This corporeal sensitivity is not only underpinned by personal vulnerability, but equally by a sense of triumph and pride. In Hibbett’s work, there is no freezing of the flight, as we move with the poet through various epochs, (including, most prominently, classical Greece) landscapes, (including Alabama and West Cork) and positions (such as the Fosbury Flop and confinement).

Hibbett began as a Maths major at Stanford University before eventually switching to English in their final year. “I found my way to it late,” they admit. After a teacher pointed them in the direction of Maggie Nelson’s genre-defying Bluets and Claudia Rankine’s masterful Citizen: An American Lyric in quick succession, Hibbett was confronted by a conflicting sense of restriction: “I had it in my head that it wasn’t the kind of major that a person like me would or could do. As a scholarship student of colour, I felt that everyone else in a similar position was doing a STEM major and I had gotten the advice so much as an undergrad

that ‘you’ve been given the golden ticket at Stanford so make it count’ or hearing that switching to English was a waste, that I wasn’t utilising the potential gift I’d gotten. Also, the whole diversity thing, the way it was framed was like ‘Black People in STEM! We want you and your body in STEM, we want to champion it there but everywhere else, not so much.’”

Bolstered by a determination to pursue the liberating feeling they found as an athlete practising high jump, Hibbett began studying for an MFA at the prestigious program offered by the University of Alabama: “I was so confined in every other area of my life and that influenced how I moved through space, how I thought about myself, how I talked about myself and how I composed my face but none of that was there in high jump. I could just flow in this way that was so beautiful and it just felt as though I was my best sort of self – it was almost a transcendence. And it was devastating to lose that, something that felt so or-

ganically mine, but I found it with English and writing.”

However, the MFA experience soon became plagued by a gendered and racialized toxicity such that “work outside of the white perspective was not engaged with in the same way” and Hibbett was left with the tormenting feeling that their “work wasn’t worth engaging with”. They began hiding pieces from the workshop as a means of protection. When this work was later accepted for publication, Hibbett made the courageous decision to drop out of the program.

During their two terms at the University of Oxford as an undergraduate, Hibbett became connected to a larger group of friends in Dublin and was drawn closer to the city by a burgeoning relationship. In the autumn of 2020, as the U.S. election loomed, they sent a Hail Mary application to Trinity in the hopes of being accepted as a PhD candidate. Trinity’s PhD offered a chance to engage with both critical and creative writing. On finding the balance between the two, Hibbett explained: “Well, a lot of my early essays were in that Maggie Nelson style of the braided balance between the academic and the personal. Then, in my second year [of the PhD] I got the advice to focus more on the memoir or life-writing aspects which I did for a while and now I’m bouncing back to the more critical. The mini research projects strengthen my writing.”

Central to their writing is an engagement with mythology, Hibbett manages to use it as both a common cultural reference and a space in which reclamation is possible. “We are in a moment,” they observe, “the past twenty years have seen a lot of reimagined myths in popular cultural channels. I think it’s definitely in the air. I also think reimaginings from people who may be outside the Greek classical tradition like queer and black communities are reclaiming them”. Hibbett acknowledged and articulated their respect for those who choose to reject myth “on the basis that it’s a presupposed universal coming down from the Enlightenment in the form of the white man,” but for them, growing up in the States meant having access to this particular form of

mythology. Hibbett aims, however, to use the authority myths possess to subvert this concept of the presupposed universal: “Icarus is black now! I think there is some power to be had in reclaiming that.”

High Jump as Icarus Story, Hibbett’s debut collection, leans into this reclamation of the Greek hero. However, I was drawn to Hibbett’s pointed attention to the mirror concept of monstrosity rather than heroism. Often portrayed as one-dimensional characters, monsters’ bodies have a large part to play in an audience’s perceptions of them. Monstrosity for Hibbett “has been this way of reaching for the figures that I can relate to within the myths that I grew up around”. Citing demonised figures such as Othello, Grendel and the Minotaur, they articulate the potential of adapting the monster: “Monstrosity allows us to write back against dehumanisation while also showing us what it means to be human. By extending the concept of humanity and challenging the split between human/animal, monstrosity allows us to inhabit these beings that are used narratively to hold the fears of people – which is quite a delicate thing.”

In their collection, Hibbett manipulates this delicacy to spellbindingly illuminate how the body functions as a cultural site of process and production. This attention initially arose from a deep discomfort: “For so long, I almost tried to absent my body. In high school, I felt I was there to be a mind and not a body. I put so much mental energy into not listening to my body.” The politicisation of their black and queer body has forced it into the public sphere as a spectacle. So when they discovered Joni Mitchell’s appropriation of black masculinity as a persona for entertainment purposes, Hibbett contemplated their own relationship to femininity and the responsibilities inherent in that identification. Two poems in the collection (‘Joni Mitchell dresses up as me’ (I) and (II)) explore the poet’s complicated relationship with an artist who had such a formative influence on them.

Hibbett already has an impressive publication history with poems appearing in The London Magazine, The Stinging Fly and Guernica, among others. With the release of High Jump as Icarus Story, Hibbett is charting new territory in American, and Irish, literature. Their precision is striking throughout and demonstrates a remarkable ability to distil complex ideas into concise, impactful sentences – it has the markings of a work from a writer in a much later stage of their career. Having demonstrated such mastery from the outset, Hibbett is sure to leave an indelible mark on the world of literature. I personally look forward to seeing their success unfold.

Gustav Parker Hibbett will be speaking at the Cork International Poetry Festival on May 16th, at the International Literature Festival Dublin on May 19th, the Listowel Writers’ Week on May 30th and Books Upstairs on July 11th for the launch of the collection. High Jump as Icarus Story will be published by Banshee Press on July 4th.

PHOTO VIA @ROSAMUNDTAYLOR ON X (FORMERLY TWITTER)

PHOTO VIA @GUSTAV_PARKER ON X (FORMERLY TWITTER)

Na Peirsigh: Tragóid de Chuid Aeschylus ar Siúl as Gaeilge

Abi Ní Mhuircheartaigh

EAGARTHÓIR GAEILGE

Tá Seachtain na Gaeilge faoi lánseol i mBaile Átha Cliath agus tá an méid sin imeachtaí ann chun do chuid Gaeilge a spreagadh. Ina measc, tá Na Peirsigh, tragóid de chuid Aeschylus, astraithe ag an bhfile mór le rá Nuala Ní Dhomhnaill, ar siúlar Stáitse na Péacóige in Amharclann na Mainistreach. Ba mhór an ócáid ab ea an drámaíocht le linn tréimhse na Sean-Ghréige, agus is fíor é a rá go bhfuil lucht na hamharclainne i mBaile Átha Cliath ag baint fíorthaitnimh as an léiriúchán seo de Na Peirsigh. Tá clú agus cáil ar dhrámaíocht na Sean-Ghréige mar gheall ar an tslí a théann sí i ngleic le téamaí difriúla, téamaí ar nós cogadh, bás, agus caillteanas, chun ach roinnt a lua. Le linn tréimhse de nócha nóiméad, téann lucht an tseó i ngleic leis na téamaí seo i mbealach tochtmhar.

Insíonn Na Peirsigh scéal an

chatha idir an Ghréig agus na Peirsigh sa bhliain 480 Roimh Chríost. Insíonn Aeschylus an scéal ó thaobh na bPeirseach, fiú go raibh sé féin ag troid ar son na Gréige. Tá an dráma suite sa Pheirs, sa phríomhchathair. Glacann cór an dráma post na gcomhairleoirí ríoga. Leis an Rí Xerxes (Naoise Mac Cathmhaoil) imithe ar mhisean cogaidh go dtí an Ghréig, tugann siad comhairle don Ríonmháthair Atossa (Caitríona Ní Mhurchú) agus í ag cur in iúl a himní faoin bhfeachtas cogaidh. Braitheann an lucht féachana a himní ag dul in olcas. Tagann teachtaire (Timmy Creed) ar an bhfód agus deimhnítear a faitíos. Faigheann an lucht féachana léargas soiléir ar chaoineadh na bPeirseach. Ag uaigh fir céile Atossa, gaireann na comhairleoirí spiorad an Rí mhairbh, Darius (Séamus Moran). Cáineann Darius sotal a mhic agus treascairt na bPeirseach. Ansin, tagann Xerxes ar an bhfód, agus é ag caitheamh giobal. Baineann an chuid eile den dráma lena scéalaíocht. Cuireann sé imeachtaí an chatha in iúl trí amhrán coscrach.

Lena hamhránaíocht ar an sean-nós, cuireann Mac Cathmhaoil le hochón na bPeirseach i mbealach scáfar. Agus é agus na comhairleoirí ríoga ag cásamh caillteanas an chogaidh, tagann an dráma chun deiridh. Fágtar an lucht féachana follamh mar gheall ar lagmhisneach na bPearsach.

Cuireann stiurthóir Conor Hanratty agus a fhoireann leis an tragóid léanmhar. Cruthaíonn Maree Kearns, an té i gcumhacht ar an dearadh seit, radharc adhfhuafar. Mar gheall ar obair Paul Keogan, an té i gceannas ar an dearadh soilsithe, caitear scáthanna diamhra timpeall an stáitse. Caitheann na coinnle ar lasadh ar an stáitse scáthan-

na bagracha ar aghaidheanna na foirne aisteoirí. Ina theannta sin, tá ról tábhachtach ag feistis sa dhráma. Úsáideann Joan O’Clery, an té i gcumhacht ar an dearadh feistis, éadaí go héifeachtach chun cinniúnt na bPeirseach a chur in iúl dúinn. Feicimid saibhreas an ríochais le feisteas na Ríonmháthar Atossa. Tá róbaí sómasacha agus seoldra galánta á cháitheamh aici. Le cúrsaí ag dul in olcas, feicimid saibhreas an ríochais ag laghdú le dóigh a n-éadaí. Nuair a fhileann an Rí Xerxes, níl ach giobail á chaitheamh aige. Léiríonn a éadaí millte a chinniúnt. Sáraíonn an íomhá seo an teanga, agus tuigtear olagón na bPeirseach go soiléir.

Chomh maith leis an scéalaíocht amhairc, cuirtear fotheidil Béarla ar fáil os cionn an stáitse, ionas go mbeidh teacht níos éasca ag daoine nach bhfuil Gaeilge líofa acu ar an scéal. Is bealach dearfach é seo chun daoine a mhealladh i dtreo na drámaíochta Gaelaí.In ainneoin seo, tá sé éasca neamhaird a thabhairt ar na fotheidil muna bhfuil siad ag teastáil uait. Éiríonn leis an mbealach seo freastal ar réimse leathan Gaeilge.

I ndiaidh an tseó, cuireadh soláistí ar fáil saor in aisce i mBéar na Péacóige. Bhí comhrá spreagúil le cloisteáil ann as Gaeilge agus as Béarla. B’iontach an ní é pobal Gaelach chomh beomar agus chomh tógtha sin leis an drámaíocht i gcroílár Bhaile Átha Cliath a fheiscint. Leis an amharclann lán go doras, is dócha go bhfuil todhchaí maith i ndán don téatar Gaeilge.

Tá Amharclann na Mainistreach ag taispeáint Na Peirsigh ón 6ú Márta go dtí an 6ú Aibreán mar chuid d’fhéile Naomh Pádraig 2024. Tá ticéidí ar fáil ar líne, le lascaine do mhic léinn.

Exploring Dublin’s Vintage Scene: a Q+A with Agité Closet

Clara Potts visits Dublin’s newest vintage store, Agité Closet to learn more about how the store is diversifying the city’s sustainable shopping options. Owner Monica Martinez shares insights into Agité’s unique approach to sustainable and local shopping, offering a curated experience that blends personalised and good-quality pieces with conscious consumption.

Can you share the story behind your business and what inspired you to create Agité?

My journey in the fashion industry began amidst the busy atmosphere of the Spanish fast fashion giant Inditex, where I worked for fifteen years. It was during my time here that my love for fashion grew, as I was working in a space that supported and enhanced my skills for sourcing and styling outfits. Agité gives people the chance to buy clothes that are both fashionable and sustainable. My

passion for fashion has always been a driving force in my life, and my business has allowed me to continue working in the industry that I love in a more environmentally conscious way. The perfect combination reflects my brand on the values I believe in and a new lifestyle.

What inspired you to situate your business in Dublin?

I moved to Ireland in January 2019 amidst the Covid-19 pandemic. Moving countries at this time encouraged me to reflect upon the fashion industry’s impact on the environment. It also gave me time to develop my sec-

ond-hand brand and noticed that Ireland was a country where many people were embracing sustainable options when purchasing clothing. From this, I was offered the opportunity to work in Ireland and upon moving, I established my own business, Agité Closet. I realised that I wanted to change my consumption habits, and my line of work. Agité has been open for three years now, and in January 2024, I decided to open my in-person showroom for customers.

How do you curate the items for your collection, and what factors do you consider when

selecting vintage pieces?

When I visit a second-hand clothing supplier, I always consider all the garments and do an in-depth search to find the best quality pieces. I’m always looking for timeless pieces that are easy to incorporate into your wardrobe, and you can wear and combine them indefinitely to give the best life to all those pieces that already exist and are in perfect condition.

What makes Agité different from any other vintage store?

Agité curates collections by colour, creating outfits to make the secondhand clothing purchasing experience much easier for the consumer. Often, charity shops and vintage stores can be overwhelming as it is hard to curate outfits on the spot without any organisation or pairings, with clothing often in bags and organised sporadically.

Also, I offer appointments where individuals can visit the showroom without the stress of lots of others in the store at the same time. This doesn’t mean you have to purchase, but rather the aim is to give people the space to browse and try on

clothing that is often difficult in other stores. By offering this, I believe that there is less waste with clothes, and individuals aren’t buying pieces that they will later discard of, or lie unloved in the back of their closet. This is what makes my business different, and it is something many customers appreciate: they can dress sustainably and effortlessly.

What is the best secondhand purchase you have ever made?

My favourite garment I have ever purchased for Agité is a YSL coat I found last winter. It was a double-breasted wool coat with gold buttons in a kind of sailor style. In my search to find out what era it was from, I deduced that it was from the 90s. I admire the history of Yves Saint Laurent and think he has been one of the best designers in the world.

Based on 26 King’s Street in Dublin, and currently open on Fridays from 5-8pm and Saturdays from 12-4pm, Agité is hosting an open weekend on April 12th and 13th, allowing customers to visit the collection without the need for an appointment.

PHOTO BY ROS KAVANAGH

PHOTO VIA IMAGE.IE

In Our Our Pick of Trinity and Dublin’s society, art, life and culture events

SUSTAINABLE SCULPTURE EXHIBITION

As part of Trinity’s Green Week, College invited artists to submit sustainable sculptures to be exhibited around campus. Submissions were open to artists all over Ireland, and the sculptures had to be outdoor-based. The sustainably-crafted art installations could be viewed for the duration of the week on Front Square, inside the Hamilton, in the Physics garden, in the rose garden, in the Dining Hall entrance, by the Book of Kells, beside the cricket pitch, and outside the Pav. The exhibition centred around sustainability in art and featured 19 sculptures overall.

On Friday a panel of independent judges selected the winners. The first-place prize went to Dublin artist, Ann Ensor, for her Eco Shelter by the Cricket Pitch. This interactive sculpture

ART AN TÚR GLOINE

NATIONAL GALLERY, MARCH

30TH 2024 - JANUARY 25TH 2025

Beginning March 30th, the National Gallery is holding the first exhibition of its kind highlighting An Túr Gloine, the co-operative stained glass studio founded in 1903. This will focus on the history of the studio and emphasise the variety and individuality of the designs which made the studio unique. Admission is free.

THEATRE

THE KITE RUNNER

THE GAIETY, APRIL 2ND - APRIL 6TH

Showing on the Gaiety stage for a criminally short run is Mathew Spangler’s The Kite

encourages people to stand underneath to appreciate the ‘woven life found in our everyday living’. The sculpture is made of sustainable materials such as animal hair and seaweed, inviting people to acknowledge their shared space with other natural entities.

Maria McSweeney won second place with ‘Submerged Mythos’, a body of work that highlighted the threats facing aqua ecosystems and waterways. Tara Keegan’s colourful ‘On the Inside’ won third place. The exhibition was an exciting introduction to environmental art during Green Week and allowed artists to showcase their impactful sculptures to tourists, staff, and students. Each sculpture was evocative in its message, with some installed to blend into the environment and others designed to stand out. As an art practice, environmental art connects nature and the environment with social issues and

Runner. Embarking on a UK and Ireland tour following from respective Broadway and West End productions, this play explores a friendship spanning cultures and continents. Tickets start at €21.50 and are available on the Gaiety’s website.

FOOD AND DRINK

FABLE LEMON BUN

FABLE BAKERY, NOW - TBC

Every few weeks, Fable Bakery on Dawson Street changes the flavour of their filled bun. Their newest creation is lemon, rosemary and white chocolate - simply heavenly. So, when drying your exam season, stress-induced tears, pop by Fable to sample this newest pastry victory. The price of

MUSIC

MUSIC CURRENT FESTIVAL

PROJECT ARTS CENTRE & CONTEMPORARY MUSIC CENTRE, APRIL 2ND – APRIL 6TH

climate activism. It often portrays the cohesiveness of our lives in nature and provokes thought on environmental harmony and symbiosis. Many of the sculptures around the campus exemplified this and showed the potential of a future in sustainable art. One of the objectives of Green Week was to raise awareness for sustainability, and these sculptures succeeded in impacting students and raising concern for current climate issues.

In Trinity’s Sustainable Strategy, College aims to address climate change in a ‘holistic, integrated and health-focused way’. The exhibition allowed important issues regarding biodiversity loss and the climate crisis to be expressed through art. As well as conveying significant issues, the sculptures also lit up the campus with colour and innovation, something that will hopefully reappear in future College initiatives.

your happiness is €4.50.

ART

WE REALISED THE POWER OF IT

IMMA, NOW - SEPTEMBER 22ND

‘We realised the power of it’ is a new exhibition at the Irish Museum of Modern Art which showcases the Derry Film and Video Workshop. A radical film collective founded in 1984, it explored the political tensions of the time, as well as concerns with gender and class, all through film. The DFVW was left largely out of recognition at the time, and IMMA seeks to rectify this with the showcase on the history and archival material from the collective. It will run until September.

Music Current Festival is an annual contemporary music festival produced by Dublin Sound Lab. The festival showcases contemporary Irish and international electronic music in an accessible and friendly environment. The main concert programme includes Black Page Orchestra (Austria), TAK Ensemble (USA), lovemusic collective (France/ UK), Dublin Sound Lab, and Nadar Ensemble (Belgium). Alongside these performances the festival also includes public panel discussions, talks by composers and composition workshops. Tickets are available from musiccurrent.ie

THEATRE

THE PULL OF THE STARS

THE GATE, APRIL 5TH - MAY 12TH

The Gate is showing the world premiere of Emma Donoghue’s The Pull of the Stars this April. Adapted from the best-selling novel for the stage, Louise Lowe leads an all-female cast to explore sisterhood, the female body and chance-encounters. Tickets from €16.

MUSIC

SONG CYCLE

WHELAN’S BAR, APRIL 8TH AT 9PM

‘Song Cycle’ is Whelan’s open mic singer-songwriter night, where acts can experiment, sing and share in the friendly informal setting of Whelan’s front window. The night offers artists a stage to breathe life into songs, experiment with ideas or simply play for the sheer enjoyment of it. Admission is free and all are welcome to play.

SOCIETIES

TCD MUSIC COMPOSITION CEN-

TER VOCAL SHOWCASE

BOYDELL RECITAL ROOM, APRIL 11TH, 12PM

On Thursday, the TCD Music Composition Centre will have a Vocal Showcase with pieces written and performed by Irish singer Elizabeth Hilliard and Trinity’s fourth-year Music students. Flutist Anastasia Motiti will also be joining with her talents on some of the pieces. The hour-long free concert begins at 12pm in the Boydell Room, Music Department.

SOCIETIES

PINHOLE PHOTOGRAPHY

CLASS

ATRIUM ROOM 2, APRIL 11TH, 5:30PM

DU Photo Association is hosting a Pinhole Camera Making workshop this Thursday. With a professional from The Photo Shop instructing, this event is perfect for anyone who wants to work on their photography. Tickets are €10 and can be purchased in the link in DUPA’s Instagram bio (@du_photos). This €10 includes all materials as well as a roll of film.

SOCIETIES

DU YOGA SOCIETY

ATRIUM ROOM 2, APRIL 11TH, 6PM

DU Yoga Society is having their AGM (Annual General Meeting) on the 11th of April, with two new roles added: Accessibility Officer and Co-Ents Officer. The Accessibility Officer will focus on making the Yoga Soc as inclusive as it can be while the Co-Ents Officer will work on event organisation. One will particularly work on planning YogaSocs retreat while the other focuses on their College events.

MUSIC

THE ELECTRIC RAINBOW FASH-

ION PARTY

HYDE DUBLIN, 9 LEMON STREET, APRIL 13TH FROM 10PM - 3AM

Simply searching for a night of musical bliss and joy amidst the chaos of upcoming exams and assignments? The Electric Rainbow Party beckons as it celebrates its third year, promising a vibrant haven where joy knows no bounds. Prepare for performances by Fael Rodrigues, known for his dynamic energy and charismatic presence, and global phenomenon, Chris Turina who has become a pivotal figure in the LGBTIQ+ electronic music circle, fusing Latin vibes with European beats- all on the dancefloor will be captivated and a night of fun on the dancefloor is guaranteed. So, rummage through your wardrobe and search for a fun outfit as the dance floor awaits you! Tickets are €11.70 on Eventbrite.

THEATRE

THE CHILDREN OF THE SUN

THE ABBEY, APRIL 13TH - MAY 11TH

Catch Hilary Fannin’s radical adaptation of Maxim Gorky’s 1905 dark comedy on the Abbey stage this April. Following the lives of a small family as well as an eccentric stranger, The WILHELMINA GEDDES,

1928

CONTRIBUTING WRITER

Danielle Briody

PHOTO VIA @TCDDUBLIN ON X (FORMERLY TWITTER)

THEIR INFINITE VARIETY,

Children of the Sun considers how we as people ignore the monumental uncertainties in life and get caught up in trivialities and our petty squabbles. Tickets from €15.

ART IN PRAISE OF IDLENESS BY LEE WELSH

PALLAS PROJECTS, APRIL 18THMAY 4TH

In a continuation of the Artist-Initiated Projects Programme, the Pallas Projects will be presenting In Praise of Idleness, by Lee Welsh. As a reflection on the contemporary attitudes towards work and leisure, this collection prompts viewers to explore the way introspection and moments of idleness work in the human psyche. The exhibition will open on April 18th.

LITERATURE

OLD ROMANTICS LAUNCH

HODGES FIGGIS, 19TH APRIL, 6PM

Maggie Armstrong’s highly anticipated short story collection Old Romantics will have a launch party at Hodges Figgis, hosted dually by Tramp Press. Armstrong’s work has appeared in The Stinging Fly and Banshee and she has been longlisted for a 2023 Irish Book Award. Old Romantics explores romance through multiple lenses and discusses what happens when love doesn’t go the way it’s

expected to. The launch will take place at 6 pm on the 19th April and no tickets are required.

MUSIC SECRET SESSIONS

THE SOUNDHOUSE, APRIL 19TH Dublin’s secret sessions provide an intimate night of music, with a secret lineup of three Irish artists revealed to the audience throughout the night. In the past, acts like Ispíní na hÉireann, Curtisy, Essiray and Shiv have performed. The element of surprise in the unknown performers makes this music event all the more special, providing exposure for many up-andcoming Irish acts. Secret sessions also raise money for Musical Youth Foundation – a charity which supports disadvantaged children in learning music. Tickets start from €10 and can be found through the Instagram account, @secretsessionofficial.

FOOD AND DRINK SIÓG - FORAGING, WILD FOODS AND HERBAL EXTRACTION WORKSHOP

REDISCOVERY CENTRE, APRIL 20TH

Returning to the Rediscovery Centre, this workshop delves into the art of foraging, unravelling the medicinal secrets of Irish wild herbs, and unveiling the diverse techniques of

herbal extraction. Nothing screams library escapism quite like foraging for food. Tickets are available on Eventbrite at 45€.

LITERATURE

LET’S READ JAMES JOYCE

BALLYROAN LIBRARY, 20TH APRIL, 11 AM

The Ballyroan Library hosts a regular exploration of Joyce’s works and in April, they’re focusing on a story from Dubliners. ‘A Painful Case’ explores a friendship between a married woman and a man who’s become isolated, and an experienced Joyce presenter will lead both a live reading and a discussion on the story. Booking for the event can be made via Eventbrite and the event will take place at Ballyroan Library on the 20th April at 11am.

FASHION

GENDER-FREE CLOTHES SWAP

BECKETT LOCKE, NORTH DOCKS (THE BRENNAN ROOM), APRIL 27 FROM 1PM-5PM

Swap any clothes you don‘t wear anymore for new pieces at the monthly clothes swap hosted by Sam‘s Collective, who are committed to creating an inclusive and welcoming environment through not labelling any clothes. Bring any wearable, washed clothes, bags in good conditions or accessories that you are happy to part with. Tickets €8 on Eventbrite, but if you have nothing to swap, you can get a €20 ticket that still allows you to participate.

FASHION

THE DIGITAL HUB FLEA MARKET

THE DIGITAL HUB, THOMAS STREET, APRIL 28TH FROM 11AM5PM

Craving a bustling bazaar brimming with timeless treasures for your wardrobe? If so, Digital Hub’s flea market has you covered! Explore a range of secondhand gems, from chic clothing to funky footwear and one-of-a-kind accessories. Whether you’re after a sleek leather jacket or a slogan baby tee, be assured that The Digital Hub market has something for everyone!

LITERATURE

AN EVENING WITH JJJJJEROME ELLIS

MUSEUM OF LITERATURE IRELAND, 30TH APRIL, 7PM

FOOD AND DRINK SOCIAL IMPLICATIONS OF EXPENSIVE SHOTS

As this is the last issue of the year, I have been doing some reflecting. As Food and Drink Editor, I must admit that I have failed spectacularly in one realm: drink! Where has the drink been? As a parting gift, I thought I’d put the social studies in BESS and let you in on one of my more obvious observations that I love so much.

Most of us students have been to a few other cities across Europe. One thing that struck me when I first began frequenting pubs in Dublin was how expensive shots are. Of course, for policy reasons alcohol served in Ireland tends to be significantly more expensive compared to the European median price anyway. However, I do find it striking how high the shotto-drink price ratio is. Shot prices often surpass the expense of an average pint which is strikingly different compared to countries such as Germany and Spain. In Dublin, shots are priced as if they were concocted by the legendary potionmaker Getafix himself. With these shot prices, the ageold tradition of buying a round for your friends takes

The Museum of Literature (MoLi) are celebrating the launch of Aster of Ceremonies published by JJJJJerome Ellis through Milkweed Press. The poetry collection explores how poetry has influenced societal needs and elevates the voices of Ellis’ ancestors. The launch will see both readings from the collection, musical performances, and audience

on a whole new meaning, bringing tears to your eyes when swiping your card. As a student, purchasing shots is financially reckless. While some may argue that this pricing increases the likelihood of you remembering where you left your jacket at the end of the night, I’d like to point out that disincentivising the purchase of shots through this pricing scheme is highly socially-divisive. Gone are the days of casually offering to buy someone a shot as an icebreaker – now, you’re stuck awkwardly negotiating the terms of your generosity. “I’d love to buy you a drink, but can we discuss instalment plans first?”

A shot is bought and downed within a minute –one might call it the liquid equivalent of a speed date. It can be a great icebreaker, a conversation starter, a bonding experience with friends or even strangers. They’re the embodiment of the cool girl – a swift, adrenaline-fueled affair.

So what are the alternatives when shots are priced as if they were luxury products? You might say “Oh surely just buy them a pint”. Aha! You might think the solution were that easy. However, you’d seem to be blissfully unaware of the social implications of

Q&As. The event will take place on the 30th April. Tickets are free but must be booked in advance through Eventbrite.

FOOD AND DRINK EATYARD STREET FOOD MARKET

CAMDEN STREET, THURSDAYS TO SUNDAYS FROM 12PM-10PM

There’s nothing quite like a good street food market,

such a transaction. Buying someone a pint is a whole different ball game. Buying someone a drink is not only a monetary commitment, but a time commitment too. It is a tacit agreement to converse for an unspecified, but definitely lengthy, period of time. You wouldn’t believe how long it takes some people to drink a Guinness. Unless you know them reasonably well, buying someone a pint says: “Hi, lovely to meet you. I’ve been pining after you for months and have picked our baby names.” Not that there’s anything wrong with that. Maybe I’m somewhat jealous of the boldness required for such a move.

So what does all of this mean? I don’t know. It honestly just showcases that I should be investing more of my brainpower into my degree. Personally, I don’t even mind the move away from shots at all as I don’t really like them. I welcome the budget constraint as a commonly understood reason for not partaking in said activity. While I’m stirring the pot: Maybe the disgraceful shot pricing is a secret government policy trying to incentivise commitment over shortterm gratification. Someone should run a regression on that.

especially when we can finally brace for the weather without our trusted winter coats. Why not try Eatyard Street Food Market, located in the Camden Street area? Whether you’re in the mood for burgers, Asian cuisine, or indulgent desserts, Eatyard offers diverse food vendors to satisfy every craving. More information can be found on their website.

FOOD AND DRINK EDITOR Ella Parry

PHOTO VIA @FABLE.BAKERY ON INSTAGRAM