#enda walsh - ballyturk

[thiswomansmind]

Well, I'm a happy woman.

[cillianmurphysdimples]

Random but does anybody know where I can watch some of cillians plays? Like were some of them recorded? :(

Sometimes there's odd clips online, but I've never found any full versions.

Don't know about anything else?

[0ur-diabolikal-rapture]

do you think that maybe I enjoyed ballyturk

[hello-god-its-me-sara]

Murphy with Kristen Johnston in Love Song by John Kolvenbach, directed by John Crowley at New Ambassadors theatre, London, in 2006.

Murphy in Misterman, a one-man play by Enda Walsh, written in 1997 as the follow-up to Disco Pigs, produced for the Lyttelton Theatre, London, in 2012.

Stephen Rea and Murphy in Ballyturk, written and directed by Enda Walsh, at Black Box theatre in 2014.

[darling-arithmetic]

 You know the way there’s loads of ways to watch broadway musicals online? Is there any equivalent for plays? Trying very very hard to watch some Enda Walsh stuff, particularly one play that was on in New York may. Any ideas where to find a recording?

[whistlefromabove]

(Inexplicably he hops twice like a bunny rabbit and mines stabbing someone.)

[captivatedbycillianmurphy]

Ballyturk ; by Enda Walsh

I’d give my right arm to see him perform live ! 💖💖💖💖💖💖💖

[mazzystardust]

Ballyturk, written and directed by Enda Walsh

[mr-segundus]

9, 15, 26, 43 x

9: Favorite play(s)?

So many!! But my top few are:

Much Ado About Nothing

The Glass Menagerie - Tennessee Williams

The Fastest Clock In the Universe - Philip Ridley

Hangmen - Martin McDonagh

Ballyturk - Enda Walsh

Angels In America - Tony Kushner

15: Most overrated play(s)?

I always want to like Polly Stenham’s stuff but I’ve found all the ones I’ve read really disappointing. Ditto the majority of Caryl Churchill’s plays (though I’m weirdly in love with The Skriker)

26: Favorite show you've been in?

I don’t really act but my favourite show I��ve worked on is either the production we did at uni of my first full length play, which was just so exciting to watch come together, or The Conquest of the South Pole which I co-directed in my second year, which has a special place in my heart because I cast a boy I fancied in it and then mid way through rehearsals I asked him out and we’ve now been together two and a half years.

43: Best experience in the theatre?

So so many but the most significant was probably seeing 1984 and having such a strong reaction to it because I didn’t know theatre could be that intense and visceral, and then doing work experience on the production and getting to know everyone and look at all the props and set, and basically just understand how an incredible show like that comes together.

But also getting so excited for weeks about seeing The Glass Menagerie and then me and @bungandmunchpi sitting there enraptured and being so moved and pained and completely overwhelmed by it to the point that I couldn’t actually speak to Michael Esper afterwards. It’s six weeks since I first saw it and I still get a physical ache in my chest when I think about it, it affected me that deeply.

Thank you!! xx

[cillianmurphysdimples]

Hurrah! My copies of the Ballyturk and Misterman scriptbooks arrive tomorrow. Can't wait. My copy of the Disco Pigs scriptbook is a prized possession; so happy to finally be adding the other two I have coveted!

[52plays]

42. Ballyturk

Abbey Theatre, 11 March 2017 Landmark Productions and Galway International Arts Festival; written and directed by Enda Walsh.

Unapologetically absurd and full of heart, Enda Walsh’s words fly effortlessly from the mouths of two incredible actors in a world that they don’t control. I am thrilled that the Abbey featured Ballyturk alongside Arlington; their thematic similarities are endless. The psychological toll of confinement, the stories we tell ourselves to survive, the relationships we build in small spaces, the imperfect happiness of release after years of imprisonment.

Ballyturk is magic.

[ianbagleyinfo]

Review: A Fantasy Town Builds a Wall Against Time in ‘Ballyturk’

Ian Bagley's New Blog Post

Enda Walsh’s wild cosmic farce, in which two men act out the life of a fantasy village, finds the aching emptiness in words, words, words.

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[izayoi1242]

Review: A Fantasy Town Builds a Wall Against Time in ‘Ballyturk’

By BEN BRANTLEY Enda Walsh’s wild cosmic farce, in which two men act out the life of a fantasy village, finds the aching emptiness in words, words, words Published: January 14, 2018 at 09:00AM from NYT Theater http://ift.tt/2D6oikl via IFTTT

[timothyabernard]

Review: A Fantasy Town Builds a Wall Against Time in “Ballyturk”

Enda Walsh’s wild cosmic farce, in which two men act out the life of a fantasy village, finds the aching emptiness in words, words, words Article source here:New York Times Arts Section

[vitalmindandbody]

Waste a Scary, Thrilling Night Out With Enda Walshs Disco Pigs

It is 20 years since theatergoers firstly convened Pig and Runt, the two motormouth characters of Enda Walsh’s breakthrough, multi-award-winning play-act, Disco Pigs . Once convened, they are never forgotten.

They are enjoyable, innocent, knowing girls, then teenagers, then young adults growing up in Cork City, in County Cork, Ireland, and totally in their own world–a consolation zone that grows its own dangerous and suffocating prison.

They may remind you of other hapless but magnetized duos like Vladimir and Estragon, helplessly together and unimaginable apart; Pig and Runt in the Cork City of 1996 waiting for their very own Godot on a dance storey, getting drunk and high, or gazing up at an endless night sky. They are” disco swine ,” not signify as an offend, but rather as two girls who love making anarchically merry at night; disco pigs in clover, if you like.

John Haidar, administrator of the bright and electrifying 20th-anniversary production at New York City’s Irish Repertory Theatre( rightfully, it’s one of best available products I have determined on or off-Broadway in recent months ), calls the pair’s dizzying, mashed-up lexicon only their own,” a variation of a Cork dialect, but peppered with words, announces, and terms of their own constitute, together with notes drawn from every corner of mid-‘ 90 s pop culture .”

The Irish location and situation immediately summons up the lyricism and creeks of consciousness of James Joyce, and Walsh is a worthy modern-era compatriot of the Dubliners writer.( If you read Disco Pigs , also go to St. Ann’s Warehouse to see his romp 2014 play-act, Ballyturk ; Walsh is also sending that product .)

In Disco Pigs , Evanna Lynch( Runt) and Colin Campbell( Pig) come into the world right in front of us, as calling newborns with thoughts and paroles immediately streaming from their mouths.

They firstly appear through flappings at the back of the stage, intended to be their fathers’ vaginas. They nervously peep put into the world but are soon crafting their own world out of it.

Their world is the world, everybody else is merely a walk-on participate, stop, and–particularly for Pig–threatening nuisance to be beaten up and maybe worse. The duet are joke, sugared, sometimes whimsical, and also not to be crossed.

Everything–really, everything–is perfectly recognized in this product: Lynch and Campbell compound the not-unintimidating tasks of enunciating Walsh’s propulsive woodlands of poetry and profanity, but likewise hurl themselves around a mainly bare stagecoach, which, lit ingeniously by Elliot Griggs, can be a dwelling, a nightclub, and–most bewitchingly–a supernatural trip on the seaside.

Lynch and Campbell are garmented in the club-kid duds of 1997 and are a riot of clashing terms, which–as Haidar notes–are punctuated by” occasional gaps of silence, minutes where events come apart, and even a sense of the confessional box in these monologues … If they cease to speak, they might cease to exist, so their anxiety of silence becomes all-pervasive .”

The trajectory of their friendship is quotidian and epic. Runt affection Scampi Fries( a salty, addictive potato snack ), and they both adore drinking and getting high. As Runt chugs cider, Pig notes admiringly:” Gallon by gallon deep “theres going”. A buddel a rider’s an nasty ting, but hey, an clod da fucking! Da ting it runs! Inta da skull like ka lawn mower it desegregate me an Runt all aboud! Two fishys a swillin it back a swillin it back a swillin it back … down da belly an oud da spout …”

The first follower to pas fouled of Pig is the unseen( and eventually poorly beaten up) Foxy, but the pair don’t stop is of the view that hitting. On their channel for late night junk food they admit their adore for one another:” Jarr my bes sidekick in da whole whirl “/” Jarr “peoples lives”, Pig .” In a beautiful part of lyricism, she tells us of the opening up of their bail, as two children in adjacent incubators, and then out by the ocean–a critical moment she sees as a close on their friendship and he interprets a prologue to the romance that must surely follow from their bond.

This stark difference–the relationship he urgently misses with her contrasted with the adoration she appears for him hitherto the need to break away from that–forms the tension that informs the rest of the romp. One cycle discovers Pig singing The Ronettes’ “Be My Baby” at a pub karaoke, as Runt is beaten up by a woman.

The pair reach a kind of Elysian club heaven at the end of the romp, the Palace, which appears as precisely that, and it is here their friendship ultimately ruptures for good after the other act of sickening brutality by Pig. In the play’s final instants it is Runt who speaks of her need for objectivity and something else.

These flat terms ill convey the life and vitality of Disco Pigs . They ill communicate the surprising executions of Lynch and Campbell, and their physicality( under progress chairman Naomi Said) and the technological grandeur of Haidar, decorator Richard Kent, bang decorator Giles Thomas, and illuminating director Griggs.

For 75 times you are absolutely on the street of Cork City with Pig and Runt, and scared and exhilarated is still in their company. Walsh’s sneakiest chip of domination is, all the way through, having you want them to be together and also want them to be apart for their own purposes. Even for a 17 -year-old disco pig, the cold light of daybreak, or adulthood, eventually comes.

Robert O’Hara wishing to us to debate a nature without women in his new play-act, Mankind , at New York City’s Playwrights Horizons.

That isn’t immediately self-evident when we meet Jason( Bobby Moreno) and Mark( Anson Mount ), who seem like a couple of people having a series of slightly fraught hook-ups.

But they’re not.” Gay” is now a expression that means nothing, because men having fornication with boys is now the basic sexual and nostalgic currency of the world. Wives are extinct, and men can also reproduce.

The play is a mix of rarely fascinating but overall discordant personas: First you envisage the all-male world, then you thoughts this nature rediscovering feminism, and having it reinvented and recustomized by humankinds, after Jason and Mark have, and then fail, a female child.

Tellingly, some of the audience chuckled and acquired the various types conceits and flouncing entertaining, and elsewhere others sat in silence. The ever-wonderful Andre De Shields reigned every stage was in.

The play is an exercise in both absurdity and cultural defy. Its difficulties are more basic than its premise: You simply don’t quite believes in the characters–these two “dudes” in possibly adoration; or ever actually get at clutches with what is lost in a society where women do not exist; or what the provenance and wise of a male-recreated feminism actually would be. Even if that thought is intended as satirically constituted, Mankind ceases up experiencing like “the worlds largest” feverish kind of mansplaining.

Disco Pigs is at New York City’s Irish Repertory Theatre, until Feb. 18. Book here. Mankind is at Playwrights Horizons, until Jan. 28. Book here .

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