Think you know a thing or two about Disney? Then join us for a night of fun and trivia in Massimo on Monday, July 11th!
Where you’ll have the chance to win amazing prizes, meet the coolest of people, enjoy delicious treats and of course, support the arts!
But what if I don’t have enough friends to fill a table you ask? Do not fear, this table quiz can be enjoyed by all. Meaning you can rock up to the quiz and be assigned a group of teammates, who will inevitably become your new best friends because it will be such an amazing night. Registration starts at 7.00pm, and the quiz kicks off at 8.00pm sharp, we can’t wait to see you there!
Support from the community is essential in order to continue to produce high-quality productions and we are very grateful for the continued support we have received from Galway since the company was founded. The funds raised will go directly to developing our upcoming production Jungle Door and sharing the play with new audiences at the Edinburgh Fringe Festival.
Dressing up as your favorite character or simply on theme is optional, but there will be a prize for best dressed!
Seat at the quiz = €10 per person. (plus €1 service fee) Tables of four will play to win on the night.
The title kind of says it all, Queer Theatre changed my life. I used writing and creating Queer theatre as a vehicle for self-discovery, learning and reflection. But mostly as yet another excuse for placing myself in the centre of Queer culture as a “great ally”. This is a realisation I now have in hindsight, not something I was consciously doing. But it all began with Jungle Door, a play I began writing when I first moved to Galway, before Eva’s Echo existed.
I was 23, fresh out of college, working a horrible retail job, and couldn’t find accommodation (Yes the Galway Housing crisis has been this bad for this long!). So naturally, I was evaluating everything about my life, about myself and so the characters of Jungle Door were created. Louise, clutched on to the simpler college days while secretly struggling as part of the hidden homeless. While the newly engaged Michelle connects with her ex Louise, as she revaluates what she wants for the future.
With each production, the characters developed and changed. Michelle’s relationship with her own sexuality began to be explored deeper, as she feels unaccepted by both Queer community and heteronormative society. Being too straight for the gays and too gay for the straights. This is where it all got a bit too real.
So I’m going to out myself here, literally. But although I play Louise I have always related and connected with the character Michelle. It was really important to me to include a Queer character that is hyper-feminine. As when I was young even though I was attracted to girls I convinced myself I could not be because I was so feminine. At this point in time, I don’t think the concept of bisexuality had reached rural Ireland and my only understanding of lesbians was women who were hyper-masculine. And when the concept of bisexuality did reach us in my teen years it was consistently through a male gaze. If Katy Perry kissed a girl and she liked it, then surely this is just something everyone does? Although in hindsight this culture of girls getting with each other for male approval was horribly damaging, at the time it was an excellent cover story.
But it wasn’t all pop songs and casual bi-erasure, at this time there was a deep shame and fear around being gay. Gay used to be used as slang for something you didn’t like. “Why would you listen to that band? They’re gay.” I had several romantic interactions with girls, but these were away from male eyes. Meaning there was no excuse to hide behind. And the fear of being found out was heart-stopping, especially because as a teen I didn’t have an attraction to boys. Apologies to any long-lost exes who come across this, at least it might explain a lot! Despite all of this I was still deeply in denial.
When I got to college I slowly became slightly more open, many of my friends would make comments. All of which I would laugh off, but feel briefly accepted by. For the first time, I had friends who were out and proud, I admired that a lot more than I’m sure they knew. Eventually, I began coming out without coming out, in safe spaces. I would describe sexuality as a spectrum, and say I didn’t believe in labels. Which was true because labels scared the shit out of me. I was also somewhat still under that Katy Perry ideology that every woman likes kissing girls, so we’re all a little gay? I realise now this is not true, but I was moving on to slightly healthier coping mechanisms. And even kissing women in public settings, without the excuse of a gross male audience. Despite all of this I was still deeply in denial.
What validated this denial was discovering an attraction to men. Something that I’m ashamed to say gave me a huge sense of relief. I’m totally aware of the privilege of being a feminine bi-sexual cis woman. I was more aware than ever at that moment, and that still makes me feel gross. But I feel it’s important to address that while bi-erasure is an issue, the privilege of appearing heteronormative is a thing. These are all of the wonderful issues I attempt to dissect in Jungle Door, rather than as I probably should, with a therapist.
This brings us to adult me, creating Queer Theatre, and still carrying the stance that sexuality is a spectrum and I don’t like labels. My coming out at this time was delayed for a new reason. I had found the love of my life, and he really is the best. I was certain by this point that this is the relationship I’ll be in forever (I was right, we’re getting married next year) and it’s with a straight man, so what’s the point in coming out? I felt as though I’d be taking up a spot, a spot I wasn’t gay enough to deserve.
It took a lot of time, literally years, to overcome this final hurdle. And what helped me do that was Queer theatre. I realised that people did care about Michelle’s story, about her struggles and that people could identify with it. It’s also made me realise how important Queer Theatre is, especially for those contemplating their sexuality.
I’m hoping that Jungle Door can inspire audiences to learn and empathise, as well as help Queer audiences see themselves in art. In art that is not solely about the character’s sexuality, but explores the lives of authentic Queer characters.
We are currently fundraising to bring this amazing show, backed by an even more amazing team to Edinburgh. Please support us (every little helps!) through the button below.
We are so delighted to announce auditions for our upcoming production Latte by Sarah Fahy. This production is a site-specific performance that will be performed at The Secret Garden Cafe.
We’ve all done it, eavesdropping. You’re in a café, the couple at the next table, what is their relationship? First date? Related? Colleagues? This exciting new play by Sarah Fahy shows you a sneak peek into the lives of other cafe customers while they sip their lattes. It is a slice of life in contemporary Ireland exploring many modern issues. We are such complicated beings, two regular individuals having a coffee may not be what they seem!
Aoife – Female, 20’s – 40’s. Waitress in cafe, headstrong.
Jillian – Female, 40’s. Bubbly, estranged mother of Sophia
Sophia- Female 30’s. Reserved, estranged daughter of Jillian
Tom – Male, 20’s – 40’s. Chatty and friendly.
Dee – Female, 20’s – 40’s. Feisty
Will – Male, 30’s – 40’s. Quiet and sensitive. Joe’s best friend
Joe – Male, 30’s – 40’s. Funny. Will’s best friend
This is currently a profit-share production but we are applying for funding.
Auditions take place at NUIG from 10am – 5pm on April 20th.
Rehearsals will take place at NUIG beginning on April 30th and continuing until the show.
The final rehearsal schedule is confirmed and agreed upon once casting is completed. This is to enable actors with other work commitments to audition on equal ground.
Each team member is required to sign a contract and agree to Eva’s Echo’s code of conduct. This is to ensure each team member is entitled to the agreed fee, is protected against work-place bullying, and receives credit for their work.
The show will take place at the Secret Garden on June 4th & 5th at 7.30pm.
Audition Sign Up
Update: Audition Slots are now full.
Please complete the form below to be added to the waiting list. If you have any questions please contact us at email@example.com or through our socials @evasecho.
Join us for a night of fun and trivia at The Secret Garden on November 5th!
Where you’ll have the chance to win amazing prizes, meet the coolest of people, enjoy delicious treats and of course support the arts! But what if I don’t have enough friends to fill a table you ask? Do not fear, this table quiz can be enjoyed by all. Meaning you can rock up to the quiz and be assigned a group of team mates, who will inevitably become your new best friends because it will be such an amazing night. Please arrive at 7.15, we can’t wait to see you there!
Support from the community is essential in order to continue to produce high-quality productions and we are very grateful for the continued support we have received from Galway since the company was founded. The funds raised will go directly to developing our upcoming production Jungle Door and sharing the play with new audiences. Tables of four will play to win on the night.
The clothes line is down, the costumes in storage and the stage/screen empty. That’s curtains for Uniform, something I somewhere deep down didn’t think I’d ever be able to say! For several reasons, check out the video above for the full story. Such a big chapter deserves a proper closure, so for this month’s blog I thought I’d reflect on the process of creating digital theatre, what I learnt and how the experience has affected my view of digital theatre. I hope this article will be useful for other artists creating digital work.
The right story to tell digitally
Overall I think the method of digital theatre worked, not as a piece of theatre but as it’s own thing. I think this was because of a few reasons. Firstly Uniform was a contemporary play, I feel this translated better to screen. For example our previous production Starseed which was more abstract would not have worked in the same way. Audiences in a physical theatre are very accepting to a change in lighting signifying a dream scape. Screen audiences are used to seeing these themes conveyed in hyper realistic manners through the magic of film. As there was nothing otherworldly or abstract within the world of Uniform I believe it suited a digital presentation better than other texts.
Lights camera action!
Once it was decided that Uniform would become a piece of digital theatre I found myself at a crossroads. Do I decide to lean into all that film can bring and begin storyboarding and have Hazel switch from theatre to film acting? (They are two very different things!) Or do I continue directing Uniform as it was intended to be, a piece of theatre on front of a live audience. I choose the traditional theatre root, but some compromises had to be made. I wanted the show to be captured all in one go in order to keep the essence of a live performance. This was not always possible due to different technical issues that naturally arise during filming. In this case it was mostly the mic being affected by the costume changes. However, we were very fortunate that our theatrical lighting did not have to be changed to suit the camera, this had been our most preempted issue. The multiple camera and editing showed the audience the full stage and close ups of Hazel. The capturing of these close up moments was a real unexpected treat and something that could not be seen by an audience in such detail during a live theatre show. When viewing it on the night I was pleased with my decision to keep Uniform as close to a traditional theatre piece as possible. Although I could not help wonder how the performance would have changed if given the energy of an audience to play off of.
On the production side of things the most difficult part was not interacting with the audience. We don’t know how many were in the audience or what they thought. As it’s a digital ticket there is no way of knowing how many people were actually watching the one link, I’ve heard of five people watching one ticket link together and for all I know that could be the case for each ticket bought. I’ve also gotten apologies from people who bought a ticket but something came up. So the number of tickets bought for digital show doesn’t reflect the amount of seats filled. After attending or being apart of a live show you can feel the energy in the room following the curtain. When Uniform ended I didn’t clap but I was delighted with how the show went and wondered how it had been received. I couldn’t tell and that was a bizarre feeling.
Overall it was a great experience and I always love experimenting with different approaches to art. I’m now diving straight into directing a very different piece of digital theatre ‘ It’s True I Love You All So Much’ by Jenni Nikinmaa. The upcoming play is presented as a theatrical digital experience, it was written with intention of being presented digitally and could not exist any other way. Through this process I’ve become very interested in the relationship between the performer and audience within the digital realm and how it differs from live theatre. I’m excited to explore this and many other themes within the world of the play.
I’d love to hear from Uniform audience members to gain a better understanding of the digital theatre experience from an audience POV. If you attended Uniform and have a few minutes to spare I’d really appreciate it if you answered this short survey.