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Written and directed by Chela De Ferrari, this pr
oduction sees eight performers with Down syndrome take on the central tenet of the play ‘To Be Or Not To Be?’, weaving their own stories, desires and frustrations through Shakespeare’s iconic tale and asking important questions about their value and existence in today’s world. “This is kind of sacrilege to say, but it’s really the first production of Hamlet that moved me really deeply, that I felt connected to and that I felt I could see myself in”, Goan admits. “And I think anybody who comes to see that show, regardless of their background… I think they will connect to the very kind of essence of what this production is - and it’s also visually spectacular.” The challenge for DTF, she explains “is that we want to match the excellence that’s on the stage with our support to audiences when they come and see the work… and that’s an ever-evolving challenge because of venue infrastructure and having to undo and unmake our own unconsciously ableist practices in terms of how we think about how audiences experience theatre, and also resources.” a production what it is”, Atkinson Borrull explains. “And so often you don’t get to work together from the very start of the process. The designer ends up getting hired months into a process when an awful lot of decisions have already been made. We realized that our work would be more ambitious, more exciting, more well-wrought, if we could work together from the very outset.” This won’t be the talked-about aspect of the production however, as it boasts a 13-person strong ensemble, among them many stars of stage and screen such as Megan Cusack (Call The Midwife), Lorcan Cranitch (The Crown), Saoirse-Monica Jackson (Derry Girls), Breffni Holahan (The Nevers), Alex Murphy (The Young Offenders) and Máiréad Tyers (Extraordinary). Atkinson Borrull affirms that securing such a strong cast was always the intention. “Molly and I are really interested in trying to expand the theatre audience in Ireland and we think that one of the easiest ways to do that is by creating a company of actors that people are excited to see.” Turning from classic to modern texts, another ambitious adaptation worth mentioning is Poor by Katriona O’Sullivan running at the Gate Theatre (26 Sept-12 Oct). In conversation with director and Artistic Director of the venue, Róisín McBrinn, she assures me that even for those very familiar with Katriona O’Sullivan’s inspiring work and bestselling memoir, this adaptation by award-winning playwright Sonia Kelly offers something truly special. Far from the onewoman show some might envision, Kelly has 44 grounded a “really bright theatricality at the heart of this work”, with promise from McBrinn of songs, movement and “a large company of nine actors and a brilliant, a brilliant creative team”. In terms of tone, McBrinn promises bright light amidst darker moments. “Katriona talks about the pockets of sunshine in her life and in her childhood, and that’s been a major starting point for this show. So, as much as we tell the truth and look at the reality of what was a really troubled and tough upbringing, we really foreground the joy that was also streaming through her complicated youth”, McBrinn explains. “Katriona’s big thing is that talent is universal. Opportunity is not and she carved out the opportunities for her life, but through her story, she really wants the world to know that there aren’t enough of those opportunities, and that this is the moment we could change that.” Levelling the playing field was also top of mind for Goan and the team as they worked to craft this year’s festival. In essence, “making sure that every kind of Dubliner sees themselves on the stage is really, really important”, Goan shares. A huge part of this, and DTF’s ongoing mission, is doubling down on accessibility. “Some of the most exciting theatre in the world at the moment, is being made by artists with disabilities”, she says, citing the production set to open the festival in the O’Reilly Theatre, Teatro La Plaza’s production of Shakespeare’s Hamlet (25-27 Sept). Three Sisters To this end, the festival has made available a range of measures including accessible performances, an Access Pass (to improve the booking experience for customers with disabilities), an Access Guide (packed with information on accessible performances, entrances, exits, toilets and public transport options) and more, available through their box office and website. Though an ongoing journey, Goan is proud of this commitment to audiences, both from the festival and the wider theatre industry. As we draw near the end of our conversation, the big question remains: With over 40 different productions and experiences on offer, how do those interested choose what to attend? “I think [audiences] should be excited by the variety of work that we have to present… there are companies who are old favourites for audiences, but I think taking a chance on something new is always something I would advise,” Goan replies. “The thing about Dublin Theatre Festival is that it happens for 18 days and then it’s gone. If you miss it, likely you’ll never see those shows again, particularly with the international shows – it’s your one chance to see something that has impressed, delighted, shocked and impacted audiences all over the world.” In short, “We just encourage people to get up off the couch and give it a go.” The Dublin Theatre Festival runs from September 25th – October 12th in venues right across the county. Full programme, tickets and further information are available on dublintheatrefestival.ie. With tiered pricing, a 10-for-10 discount scheme for young people, arts workers and the unwaged and rush tickets for students on the day of shows, the team at Dublin Theatre Festival endeavour to make this possible for every kind of art-lover, regardless of their budget. “So just take a chance and come and see something”, Goan signs off, “because it’s now or never.”