Tricycle Theatre announce winter 2010 season
The Tricycle Theatre, a Fringe venue in Kilburn, north London, has announced its Winter 2010 Season.
World Premiere of Greta Garbo Came to Donegal, by Frank McGuinness, directed by Nicolas Kent. From 7 Jan to 20 Feb 2010. Starring Angeline Ball (Sylvia Hennessy), Lisa Diveney (Colette Hennessy), Michelle Fairley (Paulie Hennessy), Daniel Gerroll (Matthew Dover), Caroline Lagerfelt (Greta Garbo), Owen McDonnell (James Hennessy), Tom McKay (Harry Caulfield). Greta Garbo Came to Donegal, and she did. The year is 1967 – nothing is ever the same after. Ireland is on the verge of violent change, two couples are on the verge of ending, a woman tries to save her family, a girl tries to save her future. Above it all but in the midst of things, determining what happens next, is the loveliest and loneliest of all women, the great Garbo. But when the gods arrive, they can cause havoc, not least to themselves, as the divine Greta learns.
Chronicles of Long Kesh, by Martin Lynch, directed by Martin Lynch and Lisa May. From 15 Mar to 10 Apr 2010. Produced by Green Shoot Theatre productions. Starring Billy Clarke (Freddie), Chris Corrigan (Eamon), Jo Donnelly (Thumper), Marty Maguire (Oscar), Andy Moore (Hank) and Marc O’Shea (Toot). Chronicles of Long Kesh tells the story of Long Kesh/The Maze from its opening in 1971 to the day it closed in July 2000 as a result of the Good Friday Agreement. Whilst dealing with all the major events at the prison such as the 1974 burning of the camp, the Dirty Protest, The Hunger Strike and The Great Escape, Chronicles of Long Kesh also explores individual experiences of the inmates. Who were these people? What kind of impact did imprisonment have on their lives and that of their families? And what kind of impact did it have on the prison officers?
Twelfth Night, by William Shakespeare, devised by Filter and Sean Holmes. From 4 to 29 May 2010. Produced by Filter in association with the Royal Shakespeare Company. "Here nothing is hidden, and no two shows are the same: decisions on the direction of the performance are taken on the hoof as the narrative unfolds, and each unique performance develops in a different way each night."