THE GOOD CRANK

BY ALAN McMonagle

Directed by Gorretti Slavin

Premiered at the 2024 Galway Theatre Festival, the Good Crank launches a new pub venue in Chapelizod.

Chapelizod June 2024

Sight Nor Sound theatre

Meet Kitty Clogg, played by Rose Henderson. She lives by herself in Single Street, the oldest street in town, and certain in her belief that she is never going to die. Kitty’s got a few things on her mind. There’s neighbour Phyllis Quirke, determined to ply Kitty with industrial quantities of questionable wine. There’s neighbour Jack, self anointed inventor of the iPod and never slow to remind Kitty about what a crank she is. There’s ex-Yoga master turned cowboy builder, keen to throw up an apartment complex out back of Kitty’s house. Then there’s the mystery of what happened to the main man in Kitty’s life. Here one day, gone the next, without so much as a thank you for the memories.

With her singular attitude, Kitty doles out the warp and woof of her life. And it’s while in the throes of her daily commentaries that the spectre of memory starts to niggle Kitty. So much so that Kitty feels compelled to make one final effort to uncover the truth of her vanished man’s whereabouts.

Premiered in the Galway Theatre Festival May 2024

Venue: The Villager, Chapelizod

Tickets: €12 at www.eventbrite.com

Wednesday June 12 to Saturday 15 June, 7.30pm

Wednesday June 19 to Saturday 22 June, 7.30pm

Duration: 55 mins

VIXEN by HELEN CASEY

STARRING ROSE HENDERSON

DIRECTED BY CAROLINE FITZGERALD

**FINAL CHANCE TO SEE THIS MARVELLOUS PLAY**

CORK ARTS THEATRE 10-13 JULY 2024

Premier performances produced in conjuction with

THE NEW THEATRE, JUNE 2023

VIKING THEATRE, OCTOBER 2023

Set design     Martin Cahill

Sound design Neil Handly

Lighting design Cathy O Carroll

Stage Management Eva Walsh

Assistant Stage Management Aidan Murtagh

Photography & Video Al Craig

It is the first anniversary of Martin’s death, Angie’s lover. His family has come to visit his grave. Angie watches the mourners from the safety of her car, hidden under the Yew tree. She remains unseen, her own grief buried deep within. She remembers the foxes, appearing in formation like a string of ugly thoughts…..VIXEN by Helen Casey is a compelling psychological drama of one woman’s resilience, determination and desperation to name the love that was hers, but belonged to another. Both haunting and mesmerizing, it is a visceral exploration of love, unspoken loss and uncomfortable truths. As we are drawn further into Angie’s world, the emotional rollercoaster plunges from the frothy highs to a much darker terrain filled with suspense and a gnawing grief. Tis better to have loved and lost…or is it?

IRISH INDEPENDENT – KATY HAYES

– WED 28 JUNE 2023

VIXEN REVIEW: A PORTRAIT OF THE OTHER WOMAN IN THE AFTERMATH OF A SUDDEN DEATH

It was said after the coronation of King Charles III that this was a great year for “side chicks”, with Camilla finally getting to be crowned queen. This interesting monologue play by Helen Casey gives an account of how it feels to be the unacknowledged “side chick” after the sudden death of a lover, while the wife and family absorb all the public grieving space.

Angie is an art teacher. We are in her apartment on the first anniversary of Martin’s death, a day she has booked as a holiday from work so she can process her grief in private. She spent the morning visiting his grave, then hid in her car under a yew tree and watched from afar when his wife and family arrived.

Angie is a complex creature and indulges a recurring fantasy of meeting the wife and confessing the affair. She runs this confrontational scenario in different versions in her head – these passages are the best writing in the play. Casey’s style is perceptive and often poetic. The vixen of the title reflects some vivid symbolism involving foxes. And the story is well shaped; the slow revelation of how Martin died is satisfying and the conclusion brings a welcome flourish.

Rose Henderson is skittish and spirited as Angie, the off-kilter element of this clandestine relationship neatly embodied. She captures the anger of the “bit on the side”, her number hidden in his phone under the title “boiler repairs”.

Caroline FitzGer;ald directs with great sensitivity, ensuring Henderson hits the high points of intensity as well as the more playful elements.

But the story could do with more texture. More details of Martin’s liffe and their experiences together – this material remains vague, with a few gestures at art galleries and hotels. Martin never becomes a real flesh-and-blood creation in the writing. Angie’s devotion to him comes across clearly, but the lack of detail means we never understand why she is so devoted. And this is a real weakness in the generally accomplished storytelling.

The cosy New Theatre provides a lovely space for this kind of work that relies on direct communication with the audience. At 50 minutes, the play is short and sweet, a pleasant diversion, and Henderson’s warm stage presence wins you over.

NO MORE WORKHORSE – 29 JUNE 2023

We meet Angie (Rose Henderson) as she has just returned home to her apartment. Today is the one-year anniversary of the death of her lover; Martin. It has been a difficult year for her, made worse by the fact that she couldnt attend Martin’s funeral. While Angie was in love with Martin, she was a secret part of his life. Martin was married and Angie was his mistress, his ‘bit on the side’ and this is her story.

This is a one-woman piece with Rose Henderson taking the part of the ‘other woman’ Angie. Rose is a regular on Fair City and has worked on a variety of TV shows, even making an appearance as Sister Assumpta on Father Ted! This is a new piece written by Helen Casey. Helen has worked in theatre for many years, and is involved with “drama in education; creating and devising theatre in school and community settings.

The set design (by Martin Cahill) gives us the sitting room of Angie’s apartment, complete with a sofa and various tables and chairs. Often in small venues such as this, the actor is left with a barren stage but time and effort went into this set.

This is an interesting topic for a play and it is rare we get to hear this side of the story. It is also unusual how unrepentant Angie is she doesn’t see herself as a homewrecker, nor is she consumed by guilt. The piece gives many good images and moments in their affair but doesn’t give us an insight into how the relationship started or evolved. It would give the production more depth if the character of Martin was developed further but he remains elusive. The script contains many moments in their relationship, such as weekends away and their time in her apartment, which are handled well. Rose Henderson is lively and vivacious on stage, keeping the audience entertained and on her side throughout. In the wrong hands, she may have lost the audience, but Angie feels like a warm and friendly character that would be difficult to dislike. The piece has an original slant and the performance of Rose Henderson gives the piece life.

STELLAR MAGAZINE

Punter’s comments:

Saw Vixen last night in the New Theatre. I would totally recommend it. It’s a beautifully heightened piece of writing that is excellently directed. You get to see Rose Henderson as you’ve never seen her before. What versatility! She creates a ‘vixen’ with great warmth, wit and understanding. You could hear a pin drop in the Theatre. Overall it’s a gorgeous piece. – Liam Halligan, director

Rose Henderson was wonderful in the role. Congratulations to the writer Helen Casey and legendary director Caroline FitzGerald – Jack Gilligan

I was really, really moved by the performance of Vixen this evening. Rose’s performance was stunning. – Brid McCarthy

Rose is an absolutely outstanding actress

Vixen was so cleverly written, challenging and inviting us to think about the unsaid and unseen heartfelt in Angie’s life. Lovely coupling and resonances with words – poetic and poignant.

Enjoyed Vixen – especially the twist at the end

Congratulations Helen, on a super play. A powerful exposition on the complexity of relationships. And a stunning performance from Rose. Top drawer – Clodagh Havel

OMG Amazing. Vixen was performed so beautifully. Adored every second.

The character Angie unravelled before us, layers beneath layers, opening up and at times closing up to catch breath, to find courage. Declaiming as the wine and the sugar took hold. The piece disturbed me in the best possible way that theatre should. Angie appeared a cornered vixen howling in both triumph and grief, resigned to her fate, now the quarry, now the ‘other woman’. In the closing minutes we see Angie like a prisoner awaiting execution, or is it absolution? The widow ascends like a vengeful angel from the underworld looking for that missing piece of herself. In the widow’s mind, Angie is that missing piece. In confronting Angie she will only ever see her own self reflected back, the truth that she too is ‘the other’. In the end the wily vixen steals away into the shadows feeding on the memories, the leftovers beyond death, and each pebble brought to the grave, a love letter. – Sean Molloy

A tour de force, Rose. Loved Angie’s intensity and spirit and the play on Vixen/foxes. You totally held your audience. Don’t think I’ll be looking for vacancy as mistress! – Ros B

Brilliant performance – Sandra Bogle

Fantastic. It’s just lovely when a play and a performance are just perfect together – M Cahill

Fantasic show Rose. Such versatility and courage. You’re phenomenal, every moment perfectly judged! – Isobel Mahon

Fantastic show and performance. Could see you enjoyed all of it. That’s what stood out to me. – Luke Collins

ESMERELDA

BY HELEN CASEY

Directed by Caroline FitzGerald

Helen Casey’s ESMERALDA is a new play about friendship, mothering and the power of choice in women’s lives.

Brid (Rose Henderson), Catriona (Fiana Toibin) and Nuala, one time school friends, now middle aged, have arranged to meet.  

A trip down memory lane.

Brid gets busy showing off her dance moves, a stranger (Fiona Condon) turns up on a bicycle , memory lane reveals its secrets and lies….and of course there’s Esmeralda.

Set Design by Martin Cahill
Lighting Design by Cathy O’Carroll
Stage Management by Eva Walsh
Assistant director Sinead Ringwood
Choreography Diane Richardson
Image by Naomi O’ Dwyer

Esmerelda – Review
by Frank L

Esmeralda is a trip down memory lane when three old school friends Brid (Rose Henderson), Catriona (Fiana Toibin) and Nuala agree to meet at what is apparently Nuala’s holiday home. However, Nuala is waylaid so Brid and Catriona can chat and reminisce. They also reveal some of the choices that they have made in their life. However, both are somewhat guarded. Brid appears to be the more content character and is all on to participate in what is happening at the end of the pier where a long sunken boat is about to be raised, while Catriona has little interest. All the time they are waiting for Nuala to arrive. Eventually, Nuala’s daughter Michele appears on a bicycle with the key. She is however in a highly distressed state. She cannot help blurting out to Brid and Catriona the cause of her great unhappiness. When she leaves Brid and Catriona react to her plight in opposite ways. They have an argument and what was guarded is now revealed.

The set consists of the outside of a holiday home with a picture window. On the window sill, a large number of babushka dolls are lined up, graded from large to small. There are random chairs and a table which are typical of a holiday home.

In the first part of the play, Brid plays the more prominent role and Henderson has a ball as she relives the dance steps of her teenage years. At this stage, Catriona plays a more passive role. But following the arrival and departure of Michelle, Catriona goes into no-holds-barred mode and one can feel her palpable anger and indeed fury as she lets rip. It is an impressive performance by Toibin and she is far more imposing in this format than she was gently reminiscing in the first part.

This is a serious production but the early scenes need to be tightened. The opening section of the play adds little to the overall flow, but the final confrontation between Brid and Catriona is a fine piece of theatre and makes it all worthwhile.

Written by Helen Casey
Directed by Caroline FitzGearld
Starring Rose Henderson, Fiana Toibin and Fiona Condon
Set Design by Martin Cahill
Lighting Design by Cathy O’Carroll
Stage Management by Eva Walsh
Assistant director Sinead Ringwood
Choreography Diane Richardson
Image by Naomi O’ Dwyer
Special thanks to Kennys of Lucan, the Institute of Education, and Peter & Una Kearns.

IDEAL WORLD

A PLAY by ISOBEL MAHON

Directed by CAROLINE FITZGERALD

at the CIVIC THEATRE STUDIO

Starring Isobel Mahon, Donagh Deeney and Rose Henderson

Design Martin Cahill

Rose Henderson as Alice, Isobel Mahon as Merce and Donagh Deeney as Ted

Drumming up publicity:

Isobel, Ray and Rose on the Ray Darcy Show RTE Radio 1
Isobel, Rose and Donnagh on the 6 O’Clock Show Virgin Media 1

DEAR IMELDA

A SHORT FILM

BY DECLAN CURRAN

DIRECTED BY ARON HOLDEN

Starring Rose Henderson (Imelda) and Declan Curran (Ciaran) and set in the beautiful hills of Castlewellan. Imelda is shocked to find out that her grandson Ciaran has decided to move in with her. She is suspicious that the family have decided she cannot cope on her own and is reluctant to welcome him and positively frightened by his high tech ways. He can’t imagine life without WiFi and a compromise must be found.

BAPS AND BUNS

A SHORT FILM

BY ASH CORRISTINE

DIRECTED BY NOEL McINERNEY

PRODUCED BY MELISSA COLLINS

“A feisty older woman (Rose Henderson) desperate to pay for her son’s wedding band starts a Zoom Fans baking channel, but quickly realises that her version of Baps and Buns may be somewhat different.”

Funded by ENGINE SHORTS, LIMERICK

Director of photography: Niall O’Connor

Editor: Nathan Campion

Assistant Director: Luka Vukosavljevic

Sound: Shane Costello

Art Department: Rachel Ryan

Costume: Eabha Daly

Hair & Make-up: Caitlin O’Donnell

MOB THE TRENCH

A SHORT FILM, directed by Niamh Collins

ELF – Emerging Limerick Filmakers

Mob the Trench is set in a future where a 130 year old priest (Arthur Riordan) is confronted by an angry mob where a mixed nut sorting machine has disproven the existence of God, bringing his own faith into question.
The film opens with a woman (Rose Henderson), a community leader with a prosthetic eye, is watching an advert for Huxley’s mixed nuts. Incensed by what she now believes are lies told to her by the Clergy, she rallies and coordinates the mob.
It’s an ambitious, unusual and unique project supported by the Arts Council of Ireland, Screen Ireland, Limerick City and County Arts Office and the National Youth Film and Animation Network. We’re working with Odyssey Studios, the Screen Composers Guild of Ireland, Fantastic Films and our crew of experienced young filmmakers (who have been at this for three years) are writing, directing, shooting and leading the project in all areas. Mob the Trench will be premier at DIFF.

COOLBAWN WOMEN

A RADIO PLAY by GILLIAN GRATTAN

Recorded in KCLR 96FM, Kilkenny

Producer Breeda Slevin

Sound by Martin Bridgeman

Funded by the BAI and KCLR

LINK TO LISTEN:

https://kclr96fm.com/documentary/coolbawn-women-a-radio-drama/

Back: Steven Nolan, Rose Henderson, Aoibhin Murphy, Martin Bridgeman (sound) Gillian Grattan (writer/director) Front: Susie Lamb, Lucy Dunne, John Morton
Rose and John Morton in studio

TOY SHOW the MUSICAL

Produced by RTE at the CONVENTION CENTRE Dec 2022

On the eve of the Late Late Toy Show, twelve-year-old Nell Mooney is determined to recreate her Mam’s favourite Toy Show night traditions, but not everyone in her family wants to remember the past. Disaster strikes, and with the entire Toy Show in jeopardy, Nell and the local kids must find a way to save the night and keep everyone’s favourite TV show alive.

Toy Show the Musical celebrates one of our nation’s most loved traditions and in that, recognises the importance of play, the transformative power of the imagination, and the strength, bravery, and resilience of children.” Director Séimí Campbell

“Has perfect recipe to become an instant Christmas classic”, Irish Examiner

“A rollercoaster of emotions”, Evoke.ie

“… Will likely see not a single dry eye in the house”, Buzz.ie

Cast members of the RTÉ Toy Show the Musical are pictured performing at a special press preview

Jamie Beamish (Bridgerton, Derry Girls, Otto Bathurst’s Halo, Billy The Kid) will play the role of Dad, aka Brendan Mooney, the father of the lead character of the musical Nell.

Clare Barrett (Fair City, Medicine, Wild Mountain Thyme, Trad) has been cast to play Nell’s Mam, Áine Mooney.

The role of Nana will be played by Anna Healy (The Spin, The Last Return, Mother’s Day and Emmerdale).

Toy Show The Musical. Photograph: Ste Murray

Dee Forbes, the Director General of RTÉ, has defended Toy Show the Musical following negative reviews, saying “the audience reaction so far has been fantastic”. Ms Forbes said “families and children are really loving the show”, saying it was “always going to be a show led by children for children, in keeping with Toy Show itself”.

Toy Show the Musical: We went to the opening night. The news isn’t good

Sarah Keating – Irish Times

Toy Show The Musical. Photograph: Ste Murray

In the opening moments of Toy Show the Musical an ensemble of children are performing an elaborate song-and-dance countdown. “Only 12 more hours to go,” they sing energetically, impatient for “the one and only night when we all come together” to begin. Are they talking about Christmas, a person might legitimately wonder, looking at the sparkling lights and gingerbread clues, or about the arrival of Santa Claus? No. They are waiting for The Late Late Toy Show, which in this odd confection from Jane Murphy and Katherine Drohan elevates the annual TV show beyond its status as a contemporary cultural tradition to that of a national holiday.

The book and lyrics from Lisa Tierney-Keogh and Jamie Beamish create a plausible storyline for proceedings, with RuthAnne Cunningham and Harry Blake’s wide-ranging music offering a skeleton structure to the plot. It is Toy Show eve, and the kids of Tricycle Street are especially excited for this year’s programme, as one of their friends, Billy Bagpipes (Calum Kieran), is due to perform. Nell Mooney (played on opening night by the spunky Clare Keely) has some trepidation: it is the first time that her late mother (Clare Barrett) will not be present to conduct the family’s Toy Show rituals, and she is not sure her father (Beamish) wants to participate at all. When an all-island power cut puts a stop to festivities, Nell and her gang of friends (who include several stars from previous Toy Shows) step in to save the day.

There is much to admire in the ambitious staging by Séimí Campbell, which moves along quickly on Colin Richmond’s revolving set. Puppets stand in for lead characters in flashbacks. The adult ensemble animate pieces of furniture. A miniature streetscape offers panoramic views of the community, a symbol also of the greater global community the musical invokes. Richmond’s props and costumes are also noteworthy, adding an ingenious and inventive DIY feel that will inspire creative children.

But the production cannot shake off its indebtedness to the source material it seeks to celebrate. The Late Late Toy Show may have become an important element of an Irish Christmas, but the musical tries far too hard to make a case for its significance. Despite the talent evident on the stage and behind it, it is difficult not to feel cynical about the artistic intention of what is essentially a spectacular, self-congratulatory marketing ploy.

RTÉ Toy Show the Musical cast member Joseph Dunne pictured getting a first look at a model of the stage during a special preview press preview on Monday, 7 November 2022
RTÉ Toy Show the Musical cast member Joseph Dunne pictured getting a first look at a model of the stage during a special press preview on Monday, 7 November 2022

Forget the politics, the Toy Show musical is good innocent fun

RollerCoaster.ie

There’s absolutely no doubting that the Late Late Toy Show has become a seminal programme in the Irish psyche, spawning, among other things, pyjamas, sweet filled boxes, mugs, games, dicky bows (yes, really) and slippers.

Your social media feed alone is filled with enough proof that this is now a ‘thing’.

The last Friday in November has become the day when Christmas trees are decorated all over the country, when families gather in matching pyjamas dear lord, spare us from the onesies and the children are force-fed sugar-filled sweets in a bid to keep them awake for at least a half an hour of it so that parents can feel less guilty about being glued to it until the bitter end.

What started as a short slot on the country’s most popular talk show has grown to become a broadcasting behemoth, with tickets like gold dust and advertising slots a coveted splurge.

Toy Show The Musical Opening Night Convention Centre

Nell Mooney played on opening night by the wonderful Clare Keeley is facing into the season with a bit of a dilemma.

It’s the first year without her mother (Clare Barrett), who loved Christmas, and she wants to recreate the happy times her family all had together, but her dad (Jamie Beamish, who also wrote the book and lyrics) is not getting into the spirit at all. She’s helped somewhat in her bid to jolly up the neighbourhood by her lovable but rather bonkers grandmother (Anna Healy), who may or may not be dating two men as well as attending judo and flamenco classes.

There are upbeat tunes and dance sequences aplenty, with delightfully nutty teachers, overbearing mammies and an enthusiastic lollipop lady all adding to the colour.

Of course, this being the Toy Show, there is an element of tragedy too. As Nell and her brother Luan try to come to terms with their mother’s death by still talking to her and via flashbacks to when she was still alive, their dad is happy to bury himself in his work fixing clocks and hoping the season will just pass him by.

But Nell is determined not to let that happen. She brings home a tree so big it can’t fit in the house, she wants lights that can be seen from space, and for their family to laugh and sing together again.

The talent on display in this staging is of a very high calibre indeed the young actors in particular are as precocious and adorable as you’d expect.

The beauty of the real Toy Show, of course, is the sheer unpredictability of it all, the inability to know what the children are going to say or do, the expectation of what could go wrong. In the absence of all of that, the musical’s script is strong enough to carry it. It’s 90 minutes, without an interval, and it flew by.

I brought three girls with me, aged 17, 13 and 11, and they all loved it. There may be much to criticise about the politics of this show, but there’s so much to praise about the staging.

Toy Show The Musical Opening Night Convention Centre

‘Toy Show: The Musical’ cancels performances as RTE boss forced to publicly defend it

The stage musical has been hit by illness

Lauren Murphy – Entertainment.ie

It seems like a wonderful idea in theory – a stage musical based around the most magical Irish family television event of the year.

In reality, it seems that Toy Show: The Musical has not been as warmly received by the public as RTE bosses may have anticipated.

The show, which is currently running at Dublin’s Convention Centre after opening there last week, and features original songs by pop songwriter Ruth-Anne Cunningham, has cancelled five performances – citing illness among the cast as the reason.

The affected shows were due to take place on Saturday and Sunday with RTE releasing a statement saying “It is with deep regret that due to illness in the cast and crew that RTÉ Toy Show the Musical had to cancel its afternoon and evening shows today and its three shows tomorrow.

“The team did everything possible to avoid this situation and are truly sorry for the inconvenience caused. Our ticketing partner, Ticketsolve will be in touch as soon as possible with those with tickets for cancelled shows regarding rescheduling or refund options.

“As media fragments, RTÉ, as a dual funded public service media organisation, has an obligation to diversify its commercial activities beyond advertising. We must try new things, to grow and sustain all we are obliged to do,” Forbes wrote. “Inevitably when we do something new, it attracts attention. While the BBC (and other broadcasters) has developed many live shows based on some of its big TV properties (eg, Top GearStrictly Come DancingDr Who), this new show, developed over the past few years, is a new departure for RTÉ.”

She went on to say that the employment of mostly Irish cast and crew, and nurturing the development of the young cast into the stars of tomorrow was a “key aim” in developing the show.

“The attempts by some to pit Toy Show the Musical against other productions is at odds with the broad support we have received from the theatre world,” added Forbes. “It is also at odds with the amount of airtime support RTÉ routinely makes available to live events of all kinds through its RTÉ Supporting the Arts scheme.”

She went on to say RTÉ was “very proud” of the show and that it had not detracted from the organisation’s World Cup coverage, developing documentaries like ‘Quinn Country’ or their political news coverage. “RTÉ has long had to do many things at once,” she said, “that’s what we’re here to do.”

“While there is a significant degree of resilience in the cast, where roles can be covered by understudies, given illness persists among a cast of predominantly children, it is necessary to make further adjustments to the schedule this week,” it read. “On Wednesday 21st and Thursday 22nd we will be reducing the number of shows from three performances a day to two, cancelling the 12.30 show on Wednesday and the 7.30pm show on Thursday

Ticketsolve, our ticketing partner, will today be contacting those affected regarding rescheduling and refund options. We will of course be offering full refunds. In addition, for those who missed the show due to the cancellations, we would like to a 25% discount on tickets to attend a show this week or next. We sincerely hope those affected by the cancellations can find a time to come and see the show. 

The Toy Show the Musical team is truly sorry for the real inconvenience these changes have caused. We have been monitoring and responding to ticket holders on social platforms and are very aware of how disappointed and upset families were that the shows were cancelled, particularly at such short notice. The team tried its very best to make the shows happen, but ran out of time and options and had to cancel. The adjustments we are making to the schedule this week are to minimise the risk of that happening again.

Weighing In

by GER GALLAGHER

Directed by Caroline FitzGerald

with Rose Henderson and Isobel Mahon

comes back to the Viking Theatre, The Sheds 198 Clontarf Road.

Mon 30 May – Sat 11 June at 8pm


To book for all shows go to our website: www.vikingtheatredublin.com
For enquiries please e-mail us: vikingtheatre@dublin.com 
or text 087 112 9970.

All shows start at 8pm. Doors open at 7.45. Mon – Sat.

All tickets €20. No Sunday performances.