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Irish Times
a day ago
- Entertainment
- Irish Times
Kilkenny Arts Festival review: Viol recital by Fahmi Alqhai spans from 16th century to a pallid Purple Haze
Fahmi Alqhai St John's Priory, Kilkenny ★★★☆☆ Fahmi Alqhai, who was born in Seville to a Syrian father and Palestinian mother, is a proselytising viola da gamba player of considerable passion. In the first of two solo concerts at St John's Priory for Kilkenny Arts Festival , he stuck to the agenda of his 2013 album, A piacere. The viola da gamba, or viol as it is called in English, is a fretted, six-stringed, flat-backed instrument with a tone more husky, nasal and plaintive than the violin's. Unlike the instruments of the violin family, viols are always played vertically, even the shortest of them, hence the gamba in the Italian name. Alqhai believes that there was 'no sound, social class or musical style' that was alien to the gamba. And, as there are far more variations in the gamba family than in that of the violin, he suggests that, 'rather than a single instrument, we should speak of a whole world of instruments: this is revealed by historical iconography, that is, the dozens of paintings and engravings that portray it, in which no single model is ever repeated'. Alqhai perceives his instrument, which disappeared from musical life for about 150 years, as having 'embedded a specific aesthetic in the collective imagination from its final period of splendour in the France of Louis XV: that of an intimate, decadent and melancholic instrument; and this image remains relevant today as its primary essence'. READ MORE His goal is to set the story straight, to show the instrument in all its flavours and guises and in a wide range of repertoire. It was curious, then, that he chose to frame his Kilkenny programme with pieces that weren't actually written for the gamba. He opened with colourful arrangements of three guitar pieces by Gaspar Sanz, Marizápalos, Mariona and Canarios, because no gamba pieces featuring those dances are to be found. The closing Canarios gave a good flavour of the way he likes to depart from the written score, in this case taking the music into places that were decidedly more 21st century than baroque. And he ended in a similar vein, with a gamba version of a Jimi Hendrix classic, Purple Haze, but in an enfeebled style which indicated that his instrument does not actually have the means to suggest, let alone deliver anything of the earthy gutsiness of the original. This polite Purple Haze was also a pallid one. Alqhai gave the impression of being happiest when his fingers were busiest, though in more inward-looking music his tone lacked focus and point. At the heart of the programme he placed original solo pieces by Tobias Hume (ca 1569-1645), and arrangements of Monsieur de Sainte-Colombe (ca 1640-ca 1700), Sainte-Colombe's pupil Marin Marais (1656-1728) and Antoine Forqueray (1672-1745). Hume was a professional soldier and an amateur composer in the best sense, an experimentalist whose work is full of surprises. It's always a pleasure to meet his work in concert. Sainte-Colombe and Marais are giants of the French musical world, but the plum offering this time turned out to be Alqhai's version of a Chaconne by Forqueray, La Morangis ou La Plissay, where the music and the soft-toned, flighty player seemed most in balance.
Irish Independent
2 days ago
- Entertainment
- Irish Independent
My favourite room: ‘The extension began to be referred to as Polly's Folly. Now that it's worked so well, it's become Ivan's Inspiration'
Though she initially trained as an actor, Polly Minett went on to become an artist and uses her creativity in many ways, whether it's turning old bedsheets into paper for artworks or transforming a dated house into a stunning sustainable home 'My family call me the basket case,' Polly Minett jokes when it becomes obvious that she has multiple baskets of all shapes and sizes in the many lovely rooms in her Arts and Crafts home in Kilkenny. 'I am basket crazy. My husband Ivan sends photos of me at markets looking at baskets to our kids Max and Eloise.' The attraction is the fact that the baskets are made of natural materials like willow and Polly is all about nature. She herself makes her own paper from old cotton and dyes it by boiling up plants like thistledown, elderberries, nettles and foxgloves. From this she makes beautiful bowls and sculptures and is now collaborating with botanical artist Jennie Castle on an exhibition called Hedgerow & Wayside, which will take place as part of Kilkenny Arts Festival until August 17; Castle paints stunning botanical art on Polly's handmade paper.
Irish Times
4 days ago
- Entertainment
- Irish Times
What Are You Afraid Of? at Kilkenny Arts Festival: Peter Hanly's stage fright study is provoking, enlightening and enriching
What Are You Afraid Of? Watergate Theatre, Kilkenny ★★★★★ 'I don't know this,' he begins. It's an actor's nightmare. The thing is, it's all of our nightmare, the fear that something familiar, what we know well, where we fit in the world, suddenly disappears. Peter Hanly was an accomplished and well-known actor, familiar from decades performing in Rough Magic productions, at the Abbey, at the Gate and on other stages, and on screen from Braveheart to Ballykissangel. Then, in 2011, at dress rehearsal for Brian Friel's monologue play Molly Sweeney in the Gate in Dublin, he had a sudden, overwhelming anxiety that he would forget the lines he knew well. 'I just couldn't believe that I knew them, that they would all be there waiting for me when I needed them.' Ultimately the terror, the severe stage fright, meant he disappeared from view for more than a decade. 'I was an actor for 30 years, show after show after show, and then it stopped. Did no one fucking notice? Did you not miss me?' READ MORE Now here he is, in this Rough Magic and Kilkenny Arts Festival production, back on stage as actor and playwright – and subject. This is Hanly's story, but it's much more than that. He explores what happened, both in life and in his head. Domhnall Herdman plays his grandfather Tom Hanly, a drapery apprentice at Clerys who died before Peter was born, and here is both provocation and guardian angel. Niamh McAllister is the stage manager's voice, terrorising, taunting, bullying ('Loser. Quitter'), a counterpoint to his grandfather. They are characters are in his head, theatrical devices, his inner voices; part of his anxiety, and performing his anxiety. There are 'real' people, too, including McAllister's myriad and often wickedly amusing therapists he visits in his distress. This manages to be both complex and simple, an exploration of how anxiety works on the human mind, but also a really strong narrative. There's interaction between Hanly, real and imagined characters, the voices, screen versions of himself. It toys with the nature of memory, time travel, inner life and outer life; the interplay between what's happening to him, as his parents' own memories flicker, is tender and illuminating. What Are You Afraid Of?: Peter Hanly, Domhnall Herdman and Niamh McAllister. Photograph: Ros Kavanagh This is both playful and profound. Lynne Parker directs her long-time colleague with sensitivity and sureness and nuance, and a deft comic touch that envelops the audience. It skilfully bounces between the delicacies of the human mind, how exposed vulnerabilities can paralyse a life, and enlightening entertainment. This is clever and very funny. It breaks the fourth wall, connecting with the audience, and there is a delightful self-consciousness in what they are about; 'move the story on,' Hanly is urged. And it revels in accomplished, swish stagecraft: video (Eoin Robinson), sound and composition (Fiona Sheil), set and lighting (Zia Bergin-Holly) and costumes (Sorcha Ní Fhloinn) are all intrinsic to the sophisticated telling of Hanly's story. It glories in all these machinations, but they also serve the telling in a way that is totally appropriate to its theme. The script in hand, the autocue, are part of this theatricality, and part of the meaning. This is an extraordinary piece of work. A totally absorbing, moving and funny piece of theatre made by someone who can no longer act. Oh, but he can: Hanly's performance is deft and complex, vulnerable, honest, warm. 'Who are you when you're not an actor?' he asks himself. The anguish it has taken to get here is clear, as is the extensive development . It's about theatre but mostly about being human. [ Peter Hanly was one of Ireland's most recognisable actors. Then he vanished Opens in new window ] This universality is pointed up from the start, the audience invited to share their own fears on cards, anonymously. This is raw, and rich. It holds the audience with compassion, while provoking, enlightening, enriching. At Watergate Theatre, as part of Kilkenny Arts Festival , until Tuesday, August 12th, and at Smock Alley, as part of Dublin Theatre Festival , from Thursday, September 25th, until Saturday, October 4th
Irish Independent
4 days ago
- Entertainment
- Irish Independent
Kilkenny Arts Festival: A raw and fascinating portrayal of an actor facing his stage-fright demons
'What Are You Afraid Of?' starring Peter Hanly explains the talented actor's disappearance from the stage more than a decade ago Busy actors often disappear from the Irish stage; it transpires later they have been plying their trade in the West End or in other exotic locales. So when actor Peter Hanly disappeared over a decade ago, he might have been expected to turn up eventually, having cracked Hollywood or Berlin. And now he has turned up, but with a different kind of story. Rough Magic and Kilkenny Arts Festival present this intriguing documentary theatre piece, written and performed by Hanly, that deals with his experience of debilitating stage fright. In 2011, during a preview of the production of Molly Sweeney by Brian Friel at the Gate Theatre, he suddenly lost his confidence in his ability to remember lines, and being on stage became terrifying. A 30-year career stuttered to a halt.
Irish Examiner
25-05-2025
- Entertainment
- Irish Examiner
Culture That Made Me: Tony Sheehan of Triskel in Cork picks his touchstones
Tony Sheehan, 62, grew up in Youghal, Co Cork. His arts administration career includes over 10 years' service as director of the Fire Station Artists' Studios in Dublin. He served as arts advisor to the Department of Arts, Sport and Tourism, and was part of the Cork 2005: European Capital of Culture programme team. In 2006, he was appointed artistic director of Triskel Arts Centre. He's a fellow of the Royal Society of Arts. See: Kind of Blue My granduncle, Thady O'Shea, who lived in Knockadoon, East Cork, was a noted box player. Another granduncle made his living as a jazz saxophonist in England in the 1950s. My father and grandfather were founding members of St Mary's Brass & Reed Band. I luckily got an introduction to Miles Davis's Kind of Blue at an early age. Most young fellas were listening to AC/DC and Queen at the time. I had this other secret world going on with jazz music. It was no problem because music – and brass instruments – was in us as a family. The Cure at the Arcadia I remember going to see The Cure at the Arcadia Ballroom in Cork in 1981. What was most memorable about it was that wash of almost trance-like, complex harmonies they did; that, big hair and Cork accents. For some reason, I was transported by The Cure, but I was brought back to Cork fairly fast. Floating along, and the next thing you'd have someone in earshot going, 'C'mere to me!' ' London Calling An album that defined my teenage years was The Clash's London Calling. It was something special. I was knocking around aimlessly for most of the 1980s because Charlie Haughey's Ireland had no options for us. You either emigrated or became an artist because you might as well. Everybody was on the dole. London Calling spoke to the anger that young people felt. It's an iconic album for that time. Shortwave radio I've always loved shortwave radio stations like the BBC World Service, foreign language stations operating in Europe and English-language Chinese radio stations. Interestingly, there was a young, brilliant solo pianist Fionnuala Moynihan who played the Chopin Nocturnes at Triskel last March. When I was a kid in 1981, I used to listen to Radio Warsaw in Poland every night at midnight to the Chopin concert they'd broadcast, including the night when martial law was declared. The broadcast stopped. The next voice you heard was the military saying they'd now taken over. Then everything went dead. Paco Peña My dad was a factory worker in a Kilkenny textile mill. The guys running it were Belgian. They had no clue about the arts or music, but they were asked by the Kilkenny Arts Festival committee to sponsor a concert. So, a manager called my father from the factory floor, and said, 'You're a guitarist. Who would you like to bring to the Kilkenny Arts Festival?' He didn't hesitate: 'Paco Peña.' And so, one of the world's most famous guitarists played Kilkenny courtesy of a man who made his living in a textile factory but had a love of music that was unsurpassed. McCoy Tyner and Charlie Haden The Jazz Festival for Cork Capital of Culture 2005 is a landmark jazz festival. People still remember it because Cork's European Capital of Culture team supported bringing McCoy Tyner and Charlie Haden, those two legendary American artists, to Cork for it. I got to introduce them from the stage. Charlie and McCoy are pillars of the history of jazz. I'll never forget it. They were on the same bill. 'You want Capital of Culture? We'll give you Capital of Culture.' John Berger John Berger with Marisa Camino at the Vanguard Gallery in Cork in 2005. Picture: Cillian Kelly John Berger is one of the most influential twentieth century art critics. He made Ways of Seeing for the BBC in 1972. It influenced generations of us. John came to Cork for the Capital of Culture. He had this searing integrity, clarity of thinking and an ability to express complex thoughts. An example is his book The Success and Failure of Picasso. He said he wrote the book to keep Picasso company – that Picasso was now this completely isolated giant of visual art. John didn't pull punches in the book, which annoyed Picasso. Brian Friel When you think about Brian Friel's play Making History and his commentary about war, it brings to mind the war in the Ukraine. If you draw the two together – Queen Elizabeth is Putin; O'Neill is Zelensky, the other guy. There are all these parallels. Some of his plays aren't easy, some are dense historical works, but Brian Friel is our Shakespeare. Translations and Philadelphia, Here I Come! are still some of my favourite plays. John Potter Triskel Christchurch was launched with a full performance of a work called Being Dufay, composed by Ambrose Field. It's about the early music of a composer. It's sung by the tenor John Potter. It's a work for electronics and voice. It's extraordinary. John came to international acclaim years before. He always produces these creative partnerships and ideas that are captivating. He opened up a rich vein of music for me, especially with ECM records. John and Ambrose, when they performed Being Dufray, set the tone for the kind of music Triskel would excel at – beautiful music done to the highest of standards, something we aspire to all the time. Denis Conway Denis Conway. Denis Conway is one of our best actors, probably the most passionate actor I know. He does nothing by halves. It's his commitment as an actor that I've always admired. He loves Cork, and he has a complicated relationship with Cork [laughs] like we all do, but the actor who I think of when I think about theatre is Denis Conway. Kazuo Ishiguro Kazuo Ishiguro is my favourite novelist. I've always loved science fiction. As a kid, I was a big fan of Philip K Dick. Ishiguro is a contemporary development of his sensibility. Fans know there's often a conflict in sci-fi between what's regarded as literature and pulp. Ishiguro crosses that divide. The books are gripping. They're beautiful and poignant. They envelop you in something. Even if it's dark, every word is so finely tuned. His book Klara and the Sun is just poetry. Patrick McCabe A writer I love is Patrick McCabe. What a guy. The Butcher Boy is incredible. Patrick McCabe also has a particular sensibility around music that I enjoy. He has that unhinged view of the world, or it's not that he has it, but he's able to completely internalise seriously unhinged stuff, complete lunacy, that makes reading his novels this incredible adventure.
