September is a busy month for Dublin’s theatre-goers. Dublin Fringe runs from September 7th to 22nd and is almost immediately followed by Dublin Theatre Festival (DTF), which is running from September 26th to October 13th. For approximately six weeks, attendees can indulge in Dublin’s drama scene to their heart’s content. The eclecticism and avant-garde of the Fringe is succeeded by DTF, which showcases a range of exemplary stagecraft from all over the world. The shows of playwrights both budding and long-revered are taken to the stage, and shows both traditional and contemporary are platformed.
DTF is Europe’s oldest specialised theatre festival, founded in 1957 by Brendan Smith. It has promoted native Irish theatrical efforts and showcased world theatre upon Dublin’s stages, to both applause and outcry from audiences. Its first two years of existence brought its most notable controversies.The opening production of the inaugural festival, Tennessee Williams’ The Rose Tattoo, resulted in visits to the Pike Theatre by Gardaí concerned about “objectionable passages.” Alan Simpson, the Pike’s founder, was arrested and incarcerated for a night in Bridewell. In 1958, censorship demands for plays shown at the festival (spearheaded by free speech’s greatest champion, Archbishop John Charles McQuaid) led to dropping of or withdrawal of works by giants of Irish literature James Joyce, Sean O’Casey and Samuel Beckett in 1958. The absence of these works and failure to procure substitute performances led to the cancellation of the festival that year. It has run smoothly since, interruption by Covid notwithstanding.
This year’s festival programme was announced on July 24th, with longtime artistic director Willie White announcing two days later that he was stepping down after 11 years at the festival’s helm. The program boasts the world premieres of a number of works, productions from theatre heavy-hitters such as Enda Walsh and ensembles showcasing the talents of some of Ireland’s most renowned actors. Particularly exciting is the ‘Festival+’ program, which is a series of ticketed events, such as discussions, interviews and viewings of works in progress. I personally would sell a kidney (there’s two of them, it’s fine) to get a ticket to Lourdes! The Musical! through Festival+, so if anyone hears of one going, hit me up.
The handy thing about going to college in Trinity is that everything is within walking distance, even when it isn’t. This is especially true regarding DTF. Seven venues, including the Abbey, the Gaiety and Smock Alley are virtually on College Green’s doorstep. The Samuel Beckett theatre is on campus itself. If you find yourself tempted to take off to the theatre rather than face an evening session in the Lecky, it will likely come at a reasonable price too. DTF’s stated commitment to making theatre as accessible as possible is realised in their 10 for 10 initiative, through which 10% of tickets for all shows in the festival are available for €10 to under 30s, unwaged, freelance artist and freelance art workers. Disability access is also prioritised. The Access Pass Scheme enables those with mobility restrictions to access seats otherwise available for online booking. Those in need of captioning, ISL interpretations and audio described performances are facilitated and various Relaxed Performances will take place across the festival, aiming to create a more welcoming and relaxed performance space for those with sensory and communication disorders, learning disabilities or an Autism Spectrum condition.
For people phased by the vastness of choice in amazing shows they’re faced by, and are stuck on what to attend (on a college timetable and a student budget, there’s only so much theatregoing a girl can commit to), there are a few that I’m particularly excited to see, particularly shows which aim to blend mediums of storytelling. Grania will be taking place in the Abbey Theatre from 26th of September to 12th October, in what is the first production of Lady Gregory’s play to take place in the theatre she founded. 0800 CUPID, a ‘genre-defying queer countercultural opus’ is showing in the Project Arts Centre from September 26th to October 5th, and is probably the production I’m most excited about in the festival. And Starjazzer, inspired by Sean O’Casey’s short story of the same name, is showing at the Royal Society of Antiquaries Ireland from September 26th to October 19th. If none of these sound to your taste, there’s far more to be seen, alongside a variety of other forms of theatre-related activities, discourse and entertainment. Dublin Theatre Festival is aiming to provide something for everyone to see in 2024, and to ensure everyone has the means to see it.
