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Irish Times
2 days ago
- Politics
- Irish Times
Letters to the Editor, June 3rd: On Arts Council funding, disappearing fish and czars
Sir, – At the Public Accounts Committee (PAC) hearing on May 29th, Deputy Joanna Byrne of Sinn Féin made the observation that Arts Grant Funding (AGF) seems to disproportionately favour Dublin-based companies over regional arts initiatives. The Director of the Arts Council, Maureen Kennelly's response was to point to increased funding to arts centres throughout the State and the impressive number of touring weeks that companies like Irish National Opera (INO) undertake throughout the year. If I may say so, this is far from the full picture. Funding the running of arts centres is one thing but you only have to look at their programmes to see that there is a preponderance of commercial and community/amateur arts events over professional funded arts programming. READ MORE So the availability of regionally grown professional arts events and productions is key to addressing this programming imbalance. Parachuting in touring theatre and opera from Dublin, while occasionally welcome, contributes very little to the ecology of the regional arts. As a client of the Arts Council going back 40 years or more and encompassing my time as artistic director of Opera Theatre Company (a forerunner to INO) and artistic director of the Abbey, both Dublin-based companies, and latterly as a former director of the Theatre Royal, Waterford, it has long been my contention that properly resourcing regional professional arts initiatives and companies is an important way of ensuring the fair spatial distribution of arts funding. My views on this are well known at the Arts Council. Most recently I wrote to the director and chair with support from 20 of my colleagues to reiterate this point. Properly resourcing regional arts will allow professional artists to work and live – if only for part of the time – in the place of their choosing rather than necessarily gravitating to places of higher population for all of their work. As we know there is a broader societal trend of people moving away from large urban centres for a less expensive and better quality of life. By way of example, Four Rivers, a Wexford-based initiative, was funded by the Arts Council from 2021-2024 to prioritise working with southeast based artists, or artists with connections to the region. We foregrounded new and established work and engaged in partnerships – primarily with Wexford Arts Centre and the National Opera House – to provide professional theatre in the southeast. Our grant-in-aid was modest but welcome and by 2024 allowed us to produce three good quality productions annually. That year we increased our audiences to in excess of 90 per cent of capacity – the figures are available and audited – and yet the outcome of our Arts Council funding application for 2025 – with the same mix of work and priorities that were successfully funded from 2021-2024 – inexplicably went from €205,000 to zero. When we requested an explanation we were told that the award was 'very competitive' and other applications were 'more compelling'. Which really told us nothing. The momentum we had thus built up was, and is, in danger of being squandered. In developing a new strategy to replace Great Art Works, the Arts Council needs to be mindful of the development and sustaining of regional professional arts companies in theatre and other disciplines that are embedded in their communities and not only provide employment to artists but help provide the kind of programming to arts centres that is currently largely unavailable to them. – Yours, etc, BEN BARNES, New Ross, Co Wexford. Panda's eyes Sir, – I've just received an email from Panda (my 'chosen home recycling partner') informing me that from June 12th the company's collection trucks 'will photograph and identify misplaced items within your bins'. Presumably, all its customers have received similar notification. As a result of this initiative, can we expect to see a marked increase in the sale of heavy-duty, black refuse sacks – the type that a standard camera cannot see through? – Yours, etc, PAUL DELANEY, Dalkey. Investing in education Sir, – David McWilliams (' Ireland is making progress, one mortar board at a time,' Weekend, May 31st) writes that 'Education is the best way out of poverty. Education today is an investment in tomorrow'. I fully concur. Access to educational resources on computers improves the quality of education delivered and outcomes for students. This access is often not affordable for young people living below the poverty line. However, in Ireland, hundreds of thousands of computers are replaced every year but only a small percentage are assessed for reuse as a resource to enhance young people's education and their life prospects. They are instead recycled when, alternatively, if assessed for reuse they could have a valuable social impact in improving young people's education. It is time for the Government to urge commercial and public sector organisations to consider the reusability of retired IT assets as an education resource instead of merely choosing the less environmentally friendly option of recycling. – Yours, etc, MARK FOX, Dublin 18. Striking a czar note Sir, – One of the more amusing aspects of current debates is the proliferation of the term 'czar', a rather curious moniker in this day and age. There are suggestions that Dublin could do with a 'night czar' while plans are afoot to entrust Ireland's accommodation problem to a 'housing czar', no less. Perhaps anybody seriously considering applying for the thankless task of tackling and solving the housing issue would do well to reflect on the fate which through the ages has befallen people who have borne the title of 'czar' in its myriad linguistic variations. Julius Caesar came to a sticky end in Rome, Kaiser Wilhelm II was forced to abdicate and flee into a very comfortable exile, while his first World War ally, Kaiser Karl I of Austria-Hungary, was banished to a considerably less comfortable sojourn far from home. Their joint foe on the Eastern Front, Tsar Nicholas II of Russia, was assassinated, together with all his family and servants, in a cellar in the Urals and, during a later conflict, Tsar Boris III of Bulgaria may have died further to an Adolf Hitler-inspired plot using a sophisticated method of poisoning. Touch wood that, if and when a lady or gentleman is duly appointed to do battle with the housing dragon, the title bestowed shall be neither 'Tsarina' nor 'Tsar' but the rather more utilitarian, if slightly less exotic, 'Director or Head of Housing'. And, when the time comes, the good wishes of all shall be with anybody brave enough to get into the saddle and ride off into battle. – Yours, etc, STEPHEN O'SULLIVAN, Paris, France. Sir. – I have to agree with Graham Doyle, secretary general at the Department of Housing, a housing tsar is not required. What would be more appropriate is a High King of Housing in Ireland who could rule rather than reign over a new house building kingdom. – Yours, etc, DERMOT O'ROURKE, Lucan, Dublin. Ireland and Israeli bonds Sir, – Notwithstanding the Irish Government's recent defeat of a Private Members' Bill attempting to block the trade in Israeli bonds facilitated through the Central Bank of Ireland (CBI), that institution has been remiss when reviewing the previous Israeli prospectus and must now insist that any future prospectus be truly comprehensive. Since 2021, the CBI has approved our prospectuses to enable Israel to issue bonds within the EU. Gabriel Makhlouf, governor of CBI, has previously defended the approval of Israel's prospectus documentation stating that, as a competent authority of the EU Central Bank, the CBI must approve any prospectus for a bond issue that is clear, comprehensible, comprehensive and fulfils all necessary criteria as laid down in the annexes contained in legislation. However, the last prospectus provided by Israel was far from comprehensive in several of the sections that are key to the approval. For a bond prospectus to be approved, the issuer must provide a comprehensive list of risks that may impact investors' return on the bonds. Up to 2024, Israeli prospectuses have laid out various security, economic, wartime and political risks that might impact the state's ability (or desire) to repay investment in the bonds. In January 2024, the International Court of Justice (ICJ) found it plausible that Israel's acts could amount to genocide and issued six provisional measures, ordering Israel to take all measures within its power to prevent genocidal acts, including preventing and punishing incitement to genocide, ensuring aid and services reach Palestinians under siege in Gaza, and preserving evidence of crimes committed in Gaza. This interim statement from the ICJ issued a caution to the state of Israel that the court shall continue to evaluate the case against Israel and subsequently deliver its final decision. However, section 2 (Risks) of Israel's prospectus, approved by CBI in September 2024, made no mention of the risk of an adverse finding by the ICJ against Israel or the possibility of international sanctions against Israel based on evidence of the IDF's conduct in Gaza and the West Bank. For this reason, it could not be considered to contain a 'comprehensive' list of risks. In addition, section 8 'Use of Proceeds' contains only the following sentence: 'The net proceeds from the issue of the Bonds are intended to be used for the general financing purposes of the Issuer.' This bland formula was accepted by the CBI despite the sections entitled 'Description of the Issuer' and 'Recent Events' being full of references to Israel's 'war' efforts. The Israeli government may not wish to acknowledge that it is 'in the dock' before the ICJ, that the ICJ may find it guilty of committing genocide and that countries may consequently impose sanctions against Israel. Regardless of the ICJ's final decision, which may take years to arrive, any sovereign country or their private citizens may decide to boycott Israeli goods and services. That such risks may be embarrassing to Israel and may draw attention to its increasing isolation in international relations should be of no concern to the Central Bank of Ireland. These factors represent additional risks to investors in the bonds and should be present in any comprehensive prospectus relating to the bond issue. Israel's bond issue expires at the end of August and must be renewed in September. As a competent authority of the EU, the Central Bank of Ireland must insist that the prospectus be comprehensive, whether or not the bond issuer loses face through that completeness. It behoves Mr Makhlouf to ensure the CBI fulfils its responsibilities to the full. – Yours, etc, Cllr JOHN HURLEY, Social Democrat, Dún Laoghaire Rathdown County Council, Co Dublin. Sir, – I'm hoping the Taoiseach and Tánaiste will have read Mark O'Connell's excellent piece in Saturday's paper (' I walked through the fire all by myself'' – this is barbarism' , Opinion, May 31st). The rawness of the piece and how it exposes the complicit impotence of western governments to what is happening in Gaza is powerful. It holds in contrast the EU's rapid reaction to Russia's aggression in Ukraine to its paralysis at the Israeli genocide in Gaza. If our leaders really cared about international law and the future of a viable Palestinian state, they would be working day and night to enact the Occupied Territories Bill before the summer recess, and pushing others in the EU to do the same. – Yours, etc, BARRY WALSH, Blackrock, Cork. Biodiversity and housing Sir, – Paul O'Shea's excellent letter ( Letters, May 31st ) argues that as well as the issue of house-building, climate change still needs to be urgently addressed, such as by improving rural land use. Although new urban and suburban house planning and building address climate change in some ways, there is siloed thinking that excludes serious attention to how biodiversity could be improved while providing housing. Even a prescription for one fruit tree or bee-friendly plant per housing unit would help instead of acres of gravel and occasional token vegetation. – Yours, etc, TRICIA CUSACK, Co Wicklow. Disappearing mackerel Sir, – Katie Mellett reported on the collapse of whale-watching off the Cork coast ( 'It's an empty, lifeless sea: Whales leave Cork waters, putting watchers out of business,' May 29th ). Colm Barnes, an experienced fisherman, explained to her that almost all the whales have disappeared because their food source, sprat, are being fished out by huge fishing vessels. We have been fishing for mackerel for 40 years on Kenmare Bay, a Special Area of Conservation. The mackerel have disappeared for the same reason. They feed on sprat, as you can see when you gut them. In recent years in winter, huge fishing vessels sweep the bay in pairs, with massive fine mesh nets held between them. It is obvious that they are contributing to destroying the mackerel fishery in the bay, affecting small-scale fishing which is important to locals and visitors, doing untold damage there and beyond in the open sea. One other consequence has been the virtual disappearance of the magnificent gannets from the upper bay and it's likely that other diving birds have been affected. The well publicised and ongoing destruction of this special area has been tolerated for some years by the authorities, ignoring their stated commitment to conservation. For example, it has been highlighted by the UCC Green Campus Group and by the brilliant transition year students from Pobalscoil Inbhear Scéine, Kenmare, who have produced an informative and evocative video. We are delighted to learn that Minister of State for Fisheries and the Marine Michael Healy-Rae is taking up this matter. We hope he will listen especially carefully to the young people of Ireland who are telling us to ban industrial fishing from Irish inshore waters now. – Yours, etc, DAVID and JANET MCCONNELL, CATHERINE FAYEN, DAVE and CHERRIE LOWE, DAVID O'SULLIVAN, BRYAN MAYBURY, FIONA THORNTON, Co Kerry. Name change Sir, – My original surname was three letters long. I wished I'd had a longer one. On marriage, almost 50 years ago, my wish was granted. The difference is unbelievable! – Yours, etc, RUTH GILL, Birr, Co Offaly. Going grey Sir, – Is a grey squirrel not an old red squirrel? (Squirrel spotting, Letters, June 2nd ). – Yours, etc, EUGENE TANNAM, Dublin.
Irish Examiner
7 days ago
- Entertainment
- Irish Examiner
Opera review: INO take on l'Elisir d'Amore provides ridiculously good fun
l'Elisir d'Amore, Gaiety Theatre, Dublin, ★★★★★ If you ever meet someone who claims opera is boring and unfun, send them to Cal McCrystal's wacky and wild (west) take on Donizetti's endearing love comedy l'Elisir d'Amore. Send them right now! His production for Irish National Opera is ridiculously good fun, and hasn't a boring moment across a riotous, good-humoured, saucy and physical two-and-a-half hours. We're used to classic opera getting far-flung, anachronistic settings. It's one of the main tools in the director's bag when it comes to reinvigorating or reinterpreting works we think we know all too well. An excellent 2013 Northern Ireland Opera version of this was set in a 1950s American highschool, for instance. Subtract about a 100 years from that, and you have McCrystal's time and place. Chorus numbers become hoedowns, Abraham Lincoln appears in the theatre (and even survives all the way to the curtain), while Claudia Boyle's Adina becomes a Scarlett O'Hara-type figure. But McCrystal doesn't stop there. He piles on the visual gags: there's a couple who've stepped out of American Gothic, pitchfork and all; a Laurel and Hardy japering about; and Keystone cops bungling in and out. Bass baritone John Molloy was a delight as the quack doctor Dulcamara in the 2013 staging. Here, his brand of sardonic, knowing humour is given even more rein as a Wild West snake oil salesman. He gets a speaking part too, where he introduces and comments on the action, ably assisted by his factotum Truffaldino. Ian O'Reilly brings great craft to that speaking role. His incarnation of a ventriloquist's dummy at one point is a real hoot. Gianluca Margheri, Claudia Boyle and Duke Kim in l'Elisir d'Amore. Picture: Ros Kavanagh It's exactly what you'd expect from McCrystal, whose physical comedy credits include the Paddington films and One Man, Two Guvnors. His brand of slapstick rather misfired in the Abbey's revival of Lennox Robinson's Drama at Inish in 2019, but he never misses a trick here. Of McCrystal's numerous movie references, the hardest to miss is Nemorino, Dulcamara's sucker for the titular love potion, and besotted with Adina. He's dressed precisely as Woody from Toy Story, with tenor Duke Kim following the cue of that getup. He accentuates his character's naivety all the way up to an innocently poignant take on the famed aria Una Furtiva Lagrima. The keen-eyed will spot not "Andy" written on the sole of his foot, but 'Adina', a typically acute detail in Sarah Bacon's superb costumes, which she casts against a relatively sparse, cactus-dotted set. Sara Jane Sheils' lighting is inspired by the shifting tones you'd see in the prairie sky, and neatly marks the progress of time in a plot that hinges on what will or won't happen today or tomorrow. Amid the uniformly excellent cast, Boyle shows her acting and singing chops to equal measure, delivering comedy, pathos, and sparkle as needed, and singing astoundingly throughout. Gianluca Margheri is charisma itself as Nemorino's rival Belcore, musclebound and really not afraid to show us! His interactions with a chorus full of delineated characters is great fun. Throughout, the words and lines bounce along as the score is deftly marshalled by Erina Yashima, leading the INO orchestra in lively form.
Irish Independent
26-05-2025
- Entertainment
- Irish Independent
Tender love story shines through in Irish National Opera's bawdy Wild West romance
Production of L'elisir d'amore is cartoonish yet sophisticated as it takes us on a whistle-stop tour through American cultural icons Today at 12:56 Irish National Opera are determined to entertain you in this boisterous and delightful production of Donizetti's 1832 comic romance. It is libidinous, bawdy and brash, with great attention to detail, and a gag-a-minute aesthetic. Sung in Italian with English surtitles, the show is improbably set in the Wild West. It takes a whistle-stop tour through American cultural icons: a couple of chorus members are got up as Laurel and Hardy; the hatchet-faced couple and their pitchfork from the painting American Gothic also feature; the leading man is dressed as Woody from Toy Story; and the leading lady appears in an array of the dresses from Gone With the Wind. Everything tumbles past at breakneck speed like a herd of stampeding buffalo, and there's a herd of stampeding buffalo too.
Irish Times
26-05-2025
- Entertainment
- Irish Times
L'Elisir d'Amore review: A perfectly OTT Claudia Boyle sings thrillingly in INO's winningly slapstick take on Donizetti
L'Elisir d'Amore Gaiety Theatre, Dublin ★★★★★ Irish National Opera is closing its season with six nights – four in Dublin plus one each in Wexford and Cork – of comic opera, a genre in which the seven-year-old company already has a really good record. Donizetti's L'Elisir d'Amore feels like a ball not to be dropped. Its popularity and permanent place in the repertory have their roots in the fact that for an entire decade, from 1838 to 1848, it was the most performed opera in Italy. But comedy gives a ball a unique slipperiness – think about the unfunny flops of stage and screen that we've all cringed through or abandoned. Therefore, to complete the slam dunk that L'Elisir d'Amore promises on paper, INO has entrusted its season finale to Cal McCrystal , a director for whom comedy is a speciality. This is his first production for INO. He had never seen L'Elisir d'Amore before. And the audience laughs. I laugh. 'A good comedy,' McCrystal remarks in the production's programme, 'is where people laugh hard and a bad comedy is when they sit quietly tittering. I like big loud laughs.' And it's big laughs that he secures with a comic modus operandi that is unapologetically physical, visual slapstick. READ MORE Once or twice as I'm laughing I find myself wondering, Who isn't? Who is disappointed? Disgusted? And there are indeed moments when comic antics threaten to undermine the music and cross a line that McCrystal acknowledges but likes to approach. But those moments are seldom. Although McCrystal's relocation of the story to the American wild west has been done before, styling Nemorino as Woody from Disney's Toy Story is probably a first. When he first appears I think ahead to act two and wonder how the cartoon-cowboy look might diminish the emotional impact of the opera's most famous and non-comic aria, Una Furtiva Lagrima. But by then the agile and sweet-toned tenor Duke Kim has endeared himself as the story's lovable, love-struck hero. We don't care what he's wearing, and the song hits home. L'Elisir d'Amore: Claudia Boyle. Photograph: Ros Kavanagh L'Elisir d'Amore: Duke Kim and Claudia Boyle. Photograph: Ros Kavanagh L'Elisir d'Amore: Gianluca Margheri. Photograph: Ros Kavanagh American Gothic: L'Elisir d'Amore: Photograph: Ros Kavanagh Kim is surpassed in vocal agility by the neat and thrilling coloratura of the soprano Claudia Boyle , as Adina. Crucially, Boyle also brings an excellent comic presence as she flaunts her numerous costume changes, each more Scarlett O'Hara than the last. She is perfectly OTT, as is the bass Gianluca Margheri, as the alpha-male love rival Sergeant Belcore, the unabashed display of whose gym-chiselled torso makes us all wither with despair on Nemorino's behalf. Funniest of all is INO's always dependable funny man John Molloy, less than a year on from his hard-hitting depiction of the Older Man in Trade , Emma O'Halloran's gritty two-hander. As Dulcamara, the charlatan purveyor of the titular love potion, Molloy is consistently comic in gesture and inflection. Conducting, Erina Yashima keeps the music light-footed and lively, ably co-ordinating her large, busy chorus, where McCrystal has embedded so much funny dancing and caricature. He and the designer Sarah Bacon must have had a blast slipping in Laurel and Hardy, Abraham Lincoln, soldiers as Keystone Kops, and the grim-faced couple from American Gothic, Grant Wood's 1930 painting. L'Elisir d'Amore, staged by Irish National Opera , is at the Gaiety Theatre , Dublin, on Tuesday, May 27th, Thursday, May 29th, and Saturday, May 31st; at the National Opera House , Wexford, on Wednesday, June 4th; and at Cork Opera House on Saturday, June 7th
Irish Independent
25-05-2025
- Entertainment
- Irish Independent
The opera singer and her pet sheep: ‘I'm up on stage in my ballgown one night, and the next down on the farm with Ruairí in my wellies'
Born in the spring of 2020, he's what's known as a wether — a castrated male sheep — and, to be honest, wethers are of no benefit whatsoever to any farmer unless they are sold. Normally, he'd be long gone by now, but such a bond developed between us that when his time to go arrived, I just couldn't part with him. So he's living out his life here with me in the fields of Offaly. He was a quad — one of four lambs — and that's really why he became a pet. When a ewe has as many as four, it's just too many for her to feed herself and that's how Ruairí ended up being bottle fed. Of course, this was right at the beginning of the pandemic and as I was no longer working, I was able to dedicate a lot of my time to minding the sheep on the family farm. That's how I got so attached to Ruairí — and he to me. When I'd leave him in the shed after feeding him in the early days, he would roar crying, looking for more attention from me — hence his name! My life revolved around the farm animals that year, with my days totally scheduled around feeding times. It wasn't just the practical stuff, though, I also spent an awful lot of time just playing with Ruairí. He was such an affectionate lamb. Does he recognise me? I can't be sure about that but he definitely feels safe with me; he's used to being around humans and being handled, and that helps when it comes to the bond between us. He's physically big now, much bigger than any of the ewes, but I can still give him cuddles or a bit of a scratch, and he just loves that. I am on the road a lot nowadays and my performer life is such a contrast to my family life. There I am one night, up on stage and dressed in my ballgown, and then the very next day I'm down on the farm, back with Ruairí and the other animals, and trudging around in my dirty wellies! I love seeing him if I've been away — it's so relaxing and grounding spending time with him. I joke sometimes that Ruairí likes to imitate me. A couple of years ago, some of our sheep were chased by a stray dog and poor Ruairí got bitten on his ears. I have lots of ear piercings myself, so it's like he is copying me! Deirdre Higgins is performing with the Irish National Opera in Donizetti's 'L'elisir D'amore' in Dublin, Cork and Wexford this summer, see As told to Roslyn Dee
