#mikel murfi
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SisterS
SisterS (Serie 2023)
#SusanStanley #SophieThompson #HarkiBhambra #SarahGoldberg #PatShortt #DonalLogue
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Serie Jahr: 2023-
Genre: Comedy / Drama
Hauptrollen: Susan Stanley, Sophie Thompson, Harki Bhambra, Sarah Goldberg, Pat Shortt, Donal Logue, Liam Carney, Lesa Thurman, Clare Barrett, Fionnula Flanagan, Carrie Crowley, Rory Nolan, Joe Hanley, Mikel Murfi …
Serienbeschreibung: Zwei Frauen, eine aus Kanada und die andere aus Irland, entdecken, dass sie Halbschwestern sind. Sie begeben sich auf…
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Antonio Velardo shares: ‘Mysterious Case of Kitsy Rainey’ Review: Mikel Murfi’s Trilogy Has Bittersweet End by Laura Collins-Hughes
By Laura Collins-Hughes
At Irish Arts Center, the actor delivers the final installment of his solo plays about the cobbler Pat and his eccentric beloved.
Published: November 9, 2023 at 11:52AM
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Jimmy’s Hall (2014) Ken Loach
May 4th 2022
#jimmy's hall#2014#ken loach#barry ward#simone kirby#aileen henry#jim norton#francis magee#mikel murfi#aisling franciosi#andrew scott#karl geary#brian f. o'byrne#martin lucey#bfi#film 4
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Mikel Murfi on Theatre at a Walking Pace
Mikel Murfi on Theatre at a Walking Pace
MIKEL MURFI, best known perhaps for his performance in Enda Walsh’s Ballyturk at the National Theatre alongside Cillian Murphy, returns to the Tricycle Theatre with his new solo show I Hear You And Rejoice – the follow up to The Man In Woman’s Shoes, which sold-out at the Tricycle last year and also returns for a limited run this June. Both shows feature Murfi’s creation Pat Farnon – a mute…
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Swan Lake
Written in the style of The Dance Current:
June 6-10 2018, Bluma Appel Theatre, Luminato Festival Toronto
Entering the theatre my eyes land on the woman on stage almost immediately. Looking past the near naked man squawking and chained to a cinder block, I am drawn instead to her, excitement coursing through me. It is rare to see wheelchair users on stage. Rarer still to see wheelchair users as part of a mainstream dance piece. I am momentarily thrilled that tonight I will be treated to seeing a fellow wheelchair dancer exhibit their craft.
Quickly, my excitement turns to dread. The woman sits in a hospital-type wheelchair, heavy and difficult to maneuver. There are no footrests, her legs hover awkwardly above the floor. The woman forgets and reminds herself of how her disabilities impact her perch in the chair, curling and uncurling her feet and hands in an unnatural way. Signs that using a chair is unnatural to her. Before the lights have even dimmed the performance has been tainted. My identity is not something that can be reduced to a prop. It is unacceptable that someone without a disability has been given permission to portray my experience on stage. I know in this moment, that before the end of the show the woman will stand from her chair and dance, seemingly justifying the use of an able-bodied woman cast in a disabled role once again.
Swan Lake/Loch na hEalais an Irish retelling of the story of Swan Lake. Placed into a contemporary Irish context, Jimmy O’Reilly (Alex Leonhartsberger) is reeling from his father’s death, and his mother Nancy’s (Elizabeth Cameron Dalman) need to move into accessible housing which will take away the only home he has ever known. His story is interconnected with the terror and tyranny of The Holy Man (Mikel Murfi) who in his role as priest commits sexual atrocities and banishes young women into life as speechless swans to avoid their ability to tell his secrets. Jimmy falls in love with The Holy Man’s victim Finola, and their irreversible march towards tragedy is cast.
Within the arts world, the practice of hiring non-disabled actors, dancers, and performers to play a disabled role is known as cripping up. It is a practice that is as problematic as it is insidious. The writer and director create a character who is disabled, from their limited understanding of disability. Then, when time comes to cast this character, disability is recognized as an inconvenience to the story they want to tell, or to their production process. Several of the ideas that influence their understanding of a disabled character permeate their ideas of the disabled actors who might portray those roles on stage. There is no space to imagine a wheelchair user who might be able to stand for short periods of time, or dance independently of their chair.
Cripping up is particularly problematic as non-disabled people have been socialized to understand disability as tragedy, and something that is to be pitied. This is evident in the role of Nancy. She is a pitiable character. Gnarled and twisted. Moved about the stage by either her own inefficient and awkward push, or by attendants who magically appear and move her around the set like an object. She is cast as helpless against her own growing medical needs, and her inability to provide for her adult son. She is further cast as victim of the Holy Man, who sexually assaults her during a party.
I hold this perception and conceptualization of Nancy against my own understanding of my wheelchair using disabled body. Rather than feeling disempowered by my disabilities, I find using my wheelchair thrilling and empowering. I do not spend my days mourning when I was able to traverse the world on two legs, but rather rejoice in how much more reliable and active in my world I can be. The only regret I feel is that I was not empowered to use my wheelchair years ago. Seeing characters like Nancy whose disability exists to provoke pity provides no service or justice to disabled people, and creates further distance between public perception of disability and our realities. It is clear we have more work to do to ensure that disabled characters of the future are better written.
The disconnect from reality is emphasized in Nancy’s repeated movement from her wheelchair on stage. In a 75-minute production, a severely disabled woman gets out of her wheelchair no less than four times. While the most vulgar of these instances is the finale dance scene, the one that strikes me the most is the birthday party scene. Nancy leaves her wheelchair, laboring furiously with a cane to carry a birthday cake full of candles to the center stage. This is outright dangerous, and there is no call for it. Disabled people have adopted many strategies to carry objects while in their wheelchairs, however, most occupational therapists agree that carrying objects that are on fire is a poor decision, particularly when you are using your least supportive mobility aid and have a substantial fall risk. Given the attendants who constantly surround her, there is no reason why they could not, under her direction, carry the cake for her.
Finally, the finale adds insult to what has been a trying disability story: The wheelchair user dances joyfully on stage, underneath a cascade of goose down, free of the bonds of her wheelchair. Once again, the only acceptable plot line for a disabled dancer is that our only dream is to be free from mobility devices, the only way in which we can have value is to shed them. I wonder for the umpteenth time why a wheelchair dancer was not hired to play the role, and recall the many dancers who would have been exceptional casting choices. This is the final blow to what has been a horrific exploration of a disability story. The disabled community deserves stories that represent our realities and our experiences, where we are whole characters, told from our perspectives, and portrayed by us. Anything else is insulting.
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It’s Friday at last! Honesty time: I’m so cranky right now. I overslept and I didn’t get to have my morning coffee and I’m feeling angry and bitter and not at all like my sunny self. I guess that’s all the more reason to write Five Things Friday — even on the worst day, there are always at least five things, right?
1. Art by 中下游
I am in love with all these digital paintings and I’m desperate to find out how to buy them because the website that features them is in Chinese and Google’s translate feature isn’t helping much. They’re just stunning.
2. This equestrian corgi
Honestly, how bad can the world be if there’s a corgi out there that has been riding his neighbor’s pony in secret?
3. This article about Loretta Young and Clark Gable
I fell down a research rabbit hole yesterday while doing some writing and stumbled upon this story, which I was unfamiliar with. The short version is this: actress Loretta Young got pregnant after a one-night tryst with Clark Gable and managed to hide her pregnancy from the world while maintaining a fairly public profile, and proceeded to hide her daughter from the world for over a year before creating an adoption narrative that allowed her daughter to live with her out of secrecy. Loretta’s daughter Judy didn’t find out the truth about her parentage until she was twenty-three, and the true story remained unconfirmed until 2000, after Young’s death.
In 2015 when this article was published, Young’s daughter-in-law claimed that Young, upon learning the meaning of the term ‘date rape’, said that was what had happened between herself and Gable, casting a completely new light on an already shadowed incident.
Though the article is over two years old, it is extremely relevant today considering the recent #MeToo and #TimesUp movements and the rising discussion about sexual harassment in Hollywood. There is no way to know for sure what happened between Young and Gable, but the story certainly showcases the ways lives of Hollywood women have changed since the 1930’s — and the ways they haven’t.
It’s a compelling read and a well-written piece. Check it out.
4. These Dogs
https://twitter.com/hannahyingz/status/961017661520986113
I don’t know if you have seen that video of the golden retriever holding the egg in her mouth, but this response to it is the funniest thing I’ve seen in 2018. I’ve probably watched it 150 times.
5. This.
https://cillianmurphydaily.tumblr.com/post/167049639356/cillian-dancing-with-mikel-murfi-at-the-after
Have a great weekend, everyone.
Five Things Friday (#21) It's Friday at last! Honesty time: I'm so cranky right now. I overslept and I didn't get to have my morning coffee and I'm feeling angry and bitter and not at all like my sunny self.
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Review: A One-Man Funeral With Many Lives in ‘I Hear You and Rejoice’
Ian Bagley's New Blog Post
Mikel Murfi’s virtuoso performance about the life and death of a redoubtable woman is a many-tongued wonder of Irish storytelling.
from NYT > Arts https://ift.tt/2MJVa6q
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I Hear You And Rejoice at Tricycle Theatre starring Mikel Murfi. Photo credit Pat Redmond
I was unprepared for the tour de force which is Mikel Murfi. I wondered how this older man of pedestrian appearance could sustain a seventy-five-minute monologue and keep me and the rest of the audience engaged. Well, the answer is with consummate craftsmanship, vitality, and compassion.
Mikel’s tale unfolds as we live through the funeral service of Kitsy Rainer. We learn of the life she shared with her husband Pat and what an unlikely triumphant coupling this has been. He is a mute cobbler and she an alluring almost Poppin-esque character. Local legend tells of the day she appeared to blow into the station with her raven dark hair and red lips and proceed to shake up a sleepy traditional community who embraced as their own.
Mikel embodies many of the town’s characters who participate in unraveling the story of the iridescent Kitsy. They share their memories of her and shine spotlights on events in the couple’s life together, revealing a real life love story. We learn of the heroines antagonist, Sylvia Neary, and of Pat’s stalwart friendship the kindly Hubie. Through the relaying of the characters foibles and the replication of their mannerisms, Mikel Murfi is transformed before our eyes into each one of them.
Living as we do in a society obsessed with youth culture, tooth whitening, Botox and hair extensions, it is refreshing to witness an older artist telling a tale of the simple and unpretentious among us. The telling of the jostling personalities and symbiotic influences one upon the other highlights the stuff of life lived by authentic people. He illuminates the good and the bad, the comedy and the tragedy and most importantly, the flawed human love which binds them all.
Mikel stands barefoot and alone on the stage with a solitary dining chair as a prop and conjures an entire community who captivate our minds. He has boundless energy and the monologue romps at a pace which sometimes leaves the audience struggling to keep up. As the story is revealed we come to love the characters individually and particularly Pat and Kitsy as a couple. When Mikel tells of them facing her illness together the exquisite intimacy and tenderness he portrays is a theatrical wonder. I found myself with a tear in my eye and unable to exhale. It is rare to experience this in the theatre without the slight cynicism of feeling manipulated. Mikel, however, can share the extremes and vulnerabilities of humanity with deftness and ease. Clearly, his performance comes from a man of large heart and astute observation of the human condition.
This is a theatrical performance which deserves to be seen. Mikel Murfi is a performer who has earned the right to be heard. This is a piece written with both integrity and intelligence. We may not all be familiar with Catholic eccentricities or the realities of life in a small Irish community but the human condition which exists within us all is mirrored back to each and every person lucky enough to be in the audience.
Go. Hear him and rejoice.
Review by Lesley Bardell
A one-man show written and performed by Mikel Murfi
LOCO and RECKLESS PRODUCTIONS in association with TRICYCLE THEATRE present
The Man in The Woman’s Shoes
Pope John Paul I is not long dead, autumn is closing in and Pat Farnon has ‘some business’ to do in town. Set in Ireland in October 1978, The Man In The Woman’s Shoes follows the life of Pat Farnon as he walks to town and back again.
Funny, tender and at times downright daft, this beautifully observed piece has toured across the USA and Ireland, including a sell-out run at the Abbey Theatre in Dublin.
http://ift.tt/2szPiHn LondonTheatre1.com
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"Ballyturk" written by Enda Walsh, starring Cillian Murphy, Mikel Murfi and Stephen Rea. Music by Teho Teardo.
#ballyturk#enda walsh#cillian murphy#mikel murfi#stephen rea#teho teardo#theatre#play#ireland#2014#galway arts festival#national theatre
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#thanks for the tunes mr murphy#ah wow the john martyns into the bill#evans is super lovely#cillian murphy fractured air mixtapes
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Ballyturk at the National Theatre (Lyttleton)
It all started simple enough with Cillian Murphy and Mikel Murfi running frantically up and down the stage, dancing, dressing, undressing, taking showers (thanks Cillian!), working out, eating breakfast. A familiar yet repetitive routine. So far so good. The dialogues was quirky and fast-paced with a lot of talk about five-legged bunnies. Don’t ask.
Part of their daily routine seemed to be the impersonation of characters from their town, Ballyturk. This was both funny and somewhat sad, when you realised they didn’t really ever leave their room. That room was a depressing grey square space with minimal furnishings and weird pictures on the wall. A great set really by Jamie Vartan!
The daily routine of the two characters changes when the back wall splits open and Stephen Rea suddenly appears. No idea who he’s supposed to be, but I didn’t really expect an explanation at this point. The plot gets darker and the atmosphere more sombre. But this is also when we get to see the funniest part of the play, in my opinion at least. The jenga tower of biscuits. I was almost crying with laughter.
After Enda Walsh's previous play Misterman featuring Cillian Murphy in 10 different roles, this felt like a somewhat poor relation. In the end, what you do remember is the relentless pace of the actors, the humour, the weirdness and Cillian Murphy in his pants, although that last bit might have just been me…
Three and a half out of Five five legged bunnies
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Review: A One-Man Funeral With Many Lives in ‘I Hear You and Rejoice’
Ian Bagley's New Blog Post
Mikel Murfi’s virtuoso performance about the life and death of a redoubtable woman is a many-tongued wonder of Irish storytelling.
from NYT > Arts https://ift.tt/2MJVa6q
via WordPress https://ift.tt/2piQ33D
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FRANCIS TURNLY
With the annual Tricycle Takeover due to open next month, Artistic Director Indhu Rubasingham today announces the company’s forthcoming work ahead of the reopening of the building in spring 2018.
This summer, Mikel Murfi returns with his production of The Man in The Woman’s Shoes, which was a sell-out success at the Tricycle last year, playing in rep with his brand new play, I Hear You and Rejoice in the Tricycle cinema space.
Rubasingham’s Olivier award-winning production of Moira Buffini’s hit play Handbagged will receive its US première at the Round House Theatre in Washington DC as part of the 2018 Women’s Voices Theater Festival – the world’s largest festival dedicated to new work by women.
In a first for the company, the Tricycle Theatre will partner with the National Theatre in a co-production of the world première of The Great Wave which won its playwright, Francis Turnly, the Catherine Johnson Award (2016). Rubasingham directs the production, which opens at the National Theatre in Spring 2018. Turnly was the Channel 4 Playwright in Residence at the Tricycle Theatre in 2015.
The Tricycle cinema space also plays hosts to Inua Ellams’ An Evening with an Immigrant; and comedy nights presented by Upfront as part of their 25th anniversary season.
TRICYCLE TAKEOVER
Tricycle Takeover returns for its 4th year with its most ambitious programme to date. Six venues across the borough will host more than 25 free events, screenings, performances and masterclasses across a 13 day period in April. During the Takeover, young people from across London will be invited to get involved as audiences, workshop participants and performers.
Headlining Takeover 2017 are six new plays The Invisible Boy; 24 Hours; Almost, But Not Quite; We Too, Are Giants; Buried; and Mission Improbable, written for six new theatre companies exploring themes of community, the expectations of society and coming of age. Eleven professional playwrights and directors from across the industry have been leading the projects, including names such as Tinuke Craig, Chino Odimba and Somalia Seaton.
The programme of events and masterclasses include Film in a Day; Stage Combat; Podcast Drama Workshop; Puppetry; Mapping Futures Q&A – Creativity in Brent, with Andre Anderson, Dilan Dattani and Indhu Rubasingham; and a special talk with Mariah Idrissi, the first hijab wearing model to sign to a major agency from Wembley Park.
TRICYCLE CINEMA SPACE
THE MAN IN THE WOMAN’S SHOES & I HEAR YOU AND REJOICE
Written and performed by Mikel Murfi
Summer 2017
Mikel Murfi returns to the Tricycle following the sell-out success of The Man in The Woman’s Shoes in 2016 to present a further run of the production in rep with his new one man show I Hear You and Rejoice.
Late in life, Pat Farnon, a cobbler and all-round contented man, marries the redoubtable Kitsy Rainey. It’s a match made in heaven, in more ways than one.
Written and performed by Mikel Murfi, I Hear You and Rejoice is a tender and joy filled account of a most unlikely marriage.
This show is the second collaboration between Sligo County Council Arts Service, The Hawk’s Well Theatre Sligo, and Mikel Murfi. It was created for the Bealtaine Festival 2015.
Originally from Sligo, Mikel Murfi trained at Ecole Jacques Lecoq, Paris. As an actor and a director he has worked in all the major theatres in Ireland. He has won 5 fringe first awards in Edinburgh and the Irish Times award for Best Supporting actor. His film work includes The Commitments, The Butcher Boy, Intermission and Jimmy’s Hall. Following sell-out runs in Dublin and at the Galway International Arts Festival, he performed in 2014 at the National Theatre London in Enda Walsh’s acclaimed production of Ballyturk with Cillian Murphy and Stephen Rea. He performed in The Last Hotel – an opera by Enda Walsh in Covent Garden. He’ll appear once again at Sadler’s Wells in November 2017 in Michael Keegan-Dolan’s sell out show from last November – the dance theatre production of Swan Lake/Loch Na hEala.
ROUND HOUSE THEATRE, WASHINGTON DC
US Première of
HANDBAGGED
By Moira Buffini
31 January – 25 February 2018
Directed by Indhu Rubasingham
Part of the 2018 Women’s Voices Theater Festival
Presented by arrangement with Tricycle Theatre and Eleanor Lloyd Productions
Indhu Rubasingham’s Olivier Award-winning production of Moira Buffini’s Handbagged makes its US première at the Round House Theatre in Washington DC as part of the 2018 Women’s Voices Theater Festival – the world’s largest festival of new work by female playwrights.
The monarch – Liz.
Her most powerful subject – Maggie.
Two enduring icons born six months apart. One destined to rule, the other elected to lead. But when the stiff upper lip softened and the gloves came off, which one had the upper hand?
Handbagged is the ‘wickedly funny’ (Evening Standard) new play that opens the clasp on the relationship between two giants of the 20th Century.
Moira Buffini’s ‘irresistibly mischievous’ (The Independent) comedy speculates on that most provocative of questions: What did the world’s most powerful women talk about behind closed palace doors?
NATIONAL THEATRE
A Tricycle Theatre and National Theatre co-production
THE GREAT WAVE
By Francis Turnly
Spring 2018
Dorfman Theatre
Directed by Indhu Rubasingham
An epic play set in Japan and North Korea. On a dark and stormy night two sisters, Hanako and Reiko, are swept away by a gigantic wave. Reiko survives while Hanako is, seemingly, lost to the sea. Their mother, however, can’t shake the feeling her daughter is still alive.
The Great Wave won the Catherine Johnson Award (2016), and renews Turnly’s collaboration with the Tricycle Theatre – in 2014 he was awarded the Channel 4 Playwright in Residence, joining the Tricycle Theatre for a residency throughout 2015.
Francis Turnly’s plays include Hiding for Watford Palace Theatre, Bogland for The Lyric Theatre, Belfast and Harajuku Girls for Finborough Theatre. He has written several plays for Radio 4 including the original detective drama, Hinterland.
TRICYCLE CINEMA SPACE
AN EVENING WITH AN IMMIGRANT
Presented by Inua Ellams and Fuel
Written and performed by Inua Ellams
Summer 2017
Award-winning poet and playwright Inua Ellams returns to the Tricycle with An Evening with an Immigrant.
Born to a Muslim father and a Christian mother in what is now considered by many to be Boko Haram territory, in 1996, Ellams left Nigeria for England aged 12, moved to Ireland for 3 years before returning to London and starting work as a writer and graphic designer.
Part of this story was documented in his hilarious autobiographical Edinburgh Fringe First award winning play, The 14th Tale, but most of it is untold. Littered with poems, stories and anecdotes, Inua will tell his ridiculous, fantastic, poignant immigrant story of escaping fundamentalist Islam, directing an arts festival at his college in Dublin, performing solo shows at the National Theatre, and drinking wine with the Queen of England, all the while without a country to belong to or place to call home.
Age recommendation: 15+
TRICYCLE CINEMA SPACE
UPFRONT COMEDY CELEBRATES ITS 25 BIRTHDAY WITH A NEW SEASON AT THE TRICYCLE
The Upfront Comedy season continues with:
Sunday 2 April, 7.30pm
John Simmit, Wil-E, Mr Cee and Thanyia Moore
Upfront founder John Simmit introduces an international line up headlined by Washington’s Wil-E, and featuring circuit everyman Mr Cee and spiky, sassy south Londoner Thanyia Moore.
Sunday 7 May, 7.30pm
Kane Brown, Rudi Lickwood, Kayleigh Lewis and Glazz Campbell
Comedy’s alpha male Kane Brown introduces Harlesden’s own Rudi Lickwood, award-winning new girl Kayleigh Lewis and Sheffield’s affable ex-boxer Glazz Campbell
Age recommendation: 16+
LISTINGS
TRICYCLE THEATRE
269 Kilburn High Road, London NW6 7JR Box office: 020 7328 1000 www.tricycle.co.uk
http://ift.tt/2mwIfLs LondonTheatre1.com
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This thing has been in my laptop for so long I almost forgot about it! D:
I'll try to finish it soon tho! <3
(What can I say? I love Ballyturk! XD )
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