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Edinburgh Reporter
a day ago
- Entertainment
- Edinburgh Reporter
Discussion on dementia stories to follow UK premiere of Lost Lear at Traverse on Sunday evening
A special discussion around telling stories of dementia will follow the first UK performance of Lost Lear at The Traverse on Sunday 27 July. The new show by award-winning Irish theatre maker Dan Colley is a moving look at living with dementia, told through the familiar lens of Shakespeare's characters Following the preview performance on the 27 July, Dan will be joined by Alex Howard and Gus Harrower from Capital Theatres dementia-friendly programme and Magdalena Schamberger, who specialises in creating theatre for those with dementia Lost Lear will run on the main stage at the Traverse from 2 to 24 August Following its first-ever UK performance at Traverse Festival on 27 July, the hit Irish theatre show Lost Lear will host a special public discussion around telling the complex stories of dementia in theatre. The discussion will feature Lost Lear's award-winning creator Dan Colley, who will be joined by Alex Howard and Gus Harrower from Capital Theatres Edinburgh's dementia-friendly programme and Scotland-based theatre-maker and consultant Magdalene Schamberger, who has over 20 years experience working with people living with dementia. The discussion will look at the initial creation of Lost Lear and its collaborations between Dementia Carers Campaign Network and the Alzheimer's Society of Ireland. The play itself, a loose adaptation of Shakespeare's King Lear, examines how we know ourselves and who we are to each other, amidst the complexities of dementia. The discussion will also be a chance for audiences to talk about how the show has resonated with their own experiences of living with and caring for those with dementia, with an invite being sent out to people from local dementia communities. 'Dan collaborated with the Dementia Carers Campaign Network (DCCN), an advocacy group supported by The Alzheimer Society of Ireland, in the early days of writing this play.' says Judy Williams, Advocacy, Engagement and Participation Officer for The Alzheimer Society of Ireland. 'Through focus groups, carers shared their experiences, shaping Dan's approach to the play. For the DCCN, the project was compelling, inclusive, and in some ways, healing. It also provided new opportunities for carers to share their stories, while raising awareness about the challenges they face. We were very grateful for the opportunity to have this engagement with Dan and Matt, and we wish them all the best at the Edinburgh Fringe 2025. We hope as many people as possible have the opportunity to see this sophisticated and thought-provoking play.' 'Lost Lear is a captivating journey, from an energetic and rambunctious beginning to the poignant and gentle end, it portrays the bewilderment of someone who wants to care, trying to have the shared experience with the person living with dementia, struggling and sometimes failing.' says Susan Crampton of the Dementia Carers Campaign Network. 'I am delighted to hear that Lost Lear is going to Edinburgh and many more people will have the opportunity to see it for the first time – or again.' Lost Lear is a moving and darkly comic remix of Shakespeare's play told from the point of view of Joy, a person with dementia, who is living in an old memory of rehearsing King Lear. Joy's delicately maintained reality is upended by the arrival of her estranged son who, being cast as Cordelia, must find a way to speak his piece from within the limited role he's given. Using puppetry, projection and live video effects, the audience are landed in Joy's world as layers of her past and present, fiction and reality, overlap and distort. Lost Lear is a thought provoking meditation on theatre, artifice and the possibility of communicating across the chasms between us. Following rave reviews for its Irish premiere, where it picked up nominations for Best New Play, Audience Choice, Best AV Design and Best Supporting Actor at the Irish Times Theatre Awards, Lost Lear will have its UK premiere at the Traverse Festival in Edinburgh this August. Following its Fringe run, Lost Lear will tour to North America in Autumn 2025. Co-produced by Mermaid Arts Centre and Riverbank Arts Centre. Funded by the Arts Council of Ireland and supported by Fishamble's New Play Clinic. Part of the 2025 Culture Ireland Edinburgh Showcase. Traverse 1 Preview 27 July 7.30pm and 2 August 9.30pm Then 3 – 24 August (not Mondays) Times vary. Run time: 1 hr 15 min Tickets: £5 – £25 Like this: Like Related
RTÉ News
07-06-2025
- Business
- RTÉ News
Support, don't star: rethinking the Arts Council's role
Theatremaker Dan Colley asks: Has the Arts Council of Ireland taken on too much 'main character energy'? I would like to propose a gear shift with the appointment of the next Director of the Council. The next Director should reorient the Arts Council into the role of supporting character in the story of the arts. It will take a really adept leader not to try and fix everything that's wrong with the organisation from within, but instead to follow. From the outset I want to acknowledge the many dedicated public servants who work at the Arts Council - people who care deeply about the arts and have served tirelessly through periods of huge change. Not least among them Maureen Kennelly, the outgoing Director of the Arts Council, who enjoys widespread support and respect among the community. Her commitment to artists, particularly during the pandemic, has been felt and appreciated. The Arts Council is the national agency for funding, developing and promoting the arts in Ireland. The money it gets from Government to fulfil that mandate has gone from €75 million in 2019, to €140 million in 2025. An 86.5% increase in six years. It's a credit to the people at the Arts Council, and to the volunteer advocates at the National Campaign for the Arts, that they have helped bring greater public and political understanding of the arts—not just as an economic or reputational asset, but as an essential part of Irish life and a foundation of a healthy society. So why, when the Arts Council has more money than ever before, does it feel harder than ever to make theatre? I'm a theatre maker, and that question brought a group of my peers together last year - trying to make sense of an increasingly precarious sector. Theatre funding has effectively stagnated - rising only 5.8% since 2008 - an increase that's been outstripped by inflation. And yet the Arts Council more than doubled its staff since 2020. While additional capacity at the Arts Council may have been necessary, the lack of parallel investment in their clients has created a gulf between the people who produce art and the agency that manages the funding. No theatre has doubled its staff. No plays have doubled its cast. Over 800 artists signed an open letter calling for emergency investment in the sector which was delivered in December 2024. The feeling was widespread: theatre in Ireland is struggling, not because there's no funding, but because of how it's being distributed. The problem is not about people. It's about systems. The Arts Council is a public body with a wide remit, serving everything from festivals to literature, music, venues, visual art, as well as the more nebulous idea of 'promoting the arts in Ireland'. But its most essential function - getting funding to artists and the people who connect art with the public - is not working. If the Arts Council were truly attuned to the interests of artists, it would see the current delays in funding decisions as an organisational crisis. Radical measures would be considered - like redeploying staff or drastically simplifying processes - to get investment to artists in time. If it were more attuned to artists' interests, the fact that only 15% of eligible theatre applications are funded wouldn't be brushed off as "the competitive context." It would be treated as an emergency. The next Director should make the Arts Council a supporting character - one that enables, rather than directs. If it were aligned with artists' interests', the Council's budget submission to Government would not be built around what it thinks it can get, or what looks tidy on paper, but on the real cost of funding all the applications it has already judged to be worthy. They would base it on the real demand, no matter how big that number is. These are questions I've been asking, along with many others, not out of hostility, but out of necessity. These failures are not moral ones. They are systemic. Systems respond to power and, as it stands, the Arts Council responds most clearly to the pressures it is most exposed to - be they departmental, political, or bureaucratic. The artist's voice is still too faint in that chorus. That's why I've been part of a group that formed the Theatre Artists Assembly - an attempt to give the arts practitioners a unified, democratic voice. Not to shout louder, but to speak more clearly and together about what we need to do our work. I would like to see assemblies like this being integrated into Arts Council decision-making processes. I would like to see artist and practitioner-led groups taking power and responsibility over the decisions that affect them. Yes, even the difficult and unpopular decisions. We have seen in citizens' assemblies how groups of people can come together and, when provided with the facts, expertise, and time to digest them and come to a conclusion, they do so with remarkable civility and clarity. I think this could be an experiment in co-creation of state policy. This could be a way of making institutions work in ways that reflect the interests of its stakeholders. It could be something we so acutely need; a form of democracy that happens between elections. This approach could strengthen and renew the principle of the Arts Council's 'arms-length' from Government. This is the principle, established in the Arts Art, that keeps decisions about what kind of art to produce and who to fund to do it, out of the realm of party politics. This could be a way of affirming that distance from the political system, while establishing community-voice and democratic responsibility. The next Director should make the Arts Council a supporting character - one that enables, rather than directs. They should build models for democratic decision-making - not merely "consultation" but real decision-making power. It will take a deft leader to resist the urge to fix everything from within, and instead recognise that real leadership often means creating space for others to shape the path. In short, they should lead by following.
