Maura Mulligan and John Kearns Reading in Westport, Mayo

    How it’s New York: Both writers, Maura Miulligan, and John Kearns are based in New York and frequently read at the Irish American Writers and Artists Salons in Manhattan.

How it’s Irish: The reading took place in Westport, Mayo, Ireland.  Maura Mulligan was born in Aghamore, Mayo.

This past June 25, Maura Mulligan and I gave a reading from our works at the Westport Library The Crescent in the County Mayo.

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Sting’s new musical “The Last Ship” sails on a tide of traditional tunes

How it’s New York: “The Last Ship” is playing on Broadway at the Neil Simon Theatre,

How it’s Irish: The themes in the music draw on the English, Scottish and Irish Traditions

©Matthew Murphy

When I first heard some of the music from “The Last Ship” a few years ago when Sting did a series of concerts at the Public Theater, I was intrigued to see how he was going to translate these to the stage.  Going to see the show earlier this fall, I was pleasantly surprised to hear the familiar strains of traditional waltzes, jigs, and reels rising and falling alonside the poppier tunes that pepper this rich and emotional piece.

I got the chance to sit down this week and talk with Lisa Gutkin, who plays fiddle in the orchestra along with other traditional scene staples Christopher Layer on flute, whistles and pipes and Mick McAuley (most notably a longtime member of the trad supergroup Solas) on accordion.  They join Paul Woodiel, a veteran Broadway violinist, with a solid traditional pedigree.  All of them were handpicked by Sting and orchestrator Rob Mathes to bring the true flavor of the musical tradition to the show.

Talking with Lisa about her experience coming into the show when it moved to Broadway, she is truly enjoying the experience and collaboration between all the musicians and Sting.   [Continue Reading]

Suicide is painfully funny: ‘Dying for It’

How it’s New York: Atlantic Theater Company is one of New York’s best, edgiest Off-Broadway companies.

How it’s Irish: Moira Buffini is an Irish playwright. There’s a reference to a shebeen (doesn’t make sense in Soviet Russia, but we’ll go with it.

Suicide is painless.

Or not. When Semyon Semyonovich Podeskalnikov (Joey Slotnick) decides to off himself, disgusted with his unemployed status in Soviet Russia, living off his wife in one of those apartments like the ones in “Ninotchka” where curtains separate different homes (set design by Walt Spangler) the decision unexpectedly makes him a celebrity.

That’s the premise of “Dying for It,” adapted by Moira Buffini from Nikolai Erman’s 1928 play (usually called “The Suicide”). As the play wears on you can see why it was banned by Stalin: there’s a lot of criticism of the Revolution, and by extension, the government, here.

As different factions vie to get Semyon to dedicate his suicide note to them– the Intelligentsia, the Artists, the Romantics– the play is amusing but a little schematic. But wait. There’s a lot more lurking underneath this play than an easy joke. Which is not to say that there aren’t big belly laughs, because there are.

As directed by Neil Pepe, “Dying for It” offers exquisite comedy from a top-notch cast. They make the  sucker punches that follow hurt that much more.

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More Grist To The Mill – The Trip to Birmingham TradFest

How it’s New York: Kevin Crawford is headlining with Long Acre, his first band, at the Trip to Birmingham TradFest. Kevin must be an honorary New Yorker by now, no?

How it’s Irish: Diddley. One of a series on the traditional Irish music scene in Birmingham

The Trip to Birmingham TradFest is a brand new festival happening the last weekend in November – I was asked to an article for the program showcasing the Anne and Pat Molloy Summer School. I include below:

What is inspiration? It is tough to pin down – hard to bottle and label.

The best kind is not usually loud and noisy, but works on you stealthily and silently so you are not always aware of it. 2014 marked three years since Pat Molloy’s death but his inspiration to the Birmingham Irish music community grows stronger every year.

In a fiddle class this July at the 3^rd Annual Anne and Pat Molloy Summer School Noreen Cullen recalled a particular occasion when Pat had inspired her. Pat had entered a fiddle competition in his later years. He might be expected to play it safe. Not a bit of it! He decided to play Carolan’s Concerto. This is a tune written by harper Turloch O’Carolan in the eighteenth century, inspired by the Italian baroque music of the time. It is a tricky tune, beloved of classical crossover musicians, but that is not the reason most traditional players avoid it; it is because it is difficult to “make your own”. As Noreen explained, not only did Pat make it his own, but he stood proud, two feet square on the ground, and laced into it, swinging and variating – playing “in the pocket” as the jazz boys say, but still on the high wire. The message was clear, not least because Noreen also spelt it out –

“don’t be afraid of falling on your arse”. [Continue Reading]

Things A NYC Irish Bartender Gets Asked And The Replies He’d Like to Give- And Sometimes Does (Part 1) by Michael Fitzpatrick.

How it’s New York: Written by a sometime NYC bartender.

How it’s Irish: The author is from Dublin.

Podcast #26 (fixed): Stephen Rea

Interview with Stephen Rea,  director of Field Day Theatre in Derry. Rea is currently appearing as Oedipus/Otto in Sam Shepard’s new play “A Particle of Dread (Oedipus Variations)” which runs at Signature Theatre in New York City through Jan. 4. The tune comes from James Cleveland and Jim Norman, from their new CD “Glad Tidings.” [Continue Reading]

At The Mike Stand With…..Danny O’Donoghue (The Script)

How it’s New York: A Big Apple-based writer and a singer/songwriter stopping off in NYC.

How it’s Irish: Both interviewer and interviewee hail from Dublin’s fair city.

You know, we’ve really got to buy a much faster bicycle. These pop star types, sure they’re dreadfully difficult to pin down these days.

Take Dubliner Danny O’Donoghue, the lead vocalist, multi-instrumentalist and songwriter (told you he was busy) with The Script.

Having recently completed a stint supporting Paul McCartney in the US, and U2 in Dublin, the Irish three-piece have continued upon their energetic assault on the music world, with debut album ‘The Script’ hitting the top spot in Ireland and the UK, as well as climbing into the American charts.

Their first three singles; ‘We Cry’, ‘The Man Who Can’t Be Moved’ and ‘Break Even’ all performed well in Europe, seemingly cementing the band’s place among the heavy-hitters in the current pop scene.

We caught up with the affable Dubliner prior to the band’s recent Citifield show with Sir Paul, where he was only too pleased to hang out ‘At The Mike Stand’.

Who would be in your fantasy supergroup?
The Edge on guitar, Stewart Copeland on drums, Flea on bass, and me on vocals! [Continue Reading]

“Howie the Rookie” sizzles at BAM

How it’s New York: Playing at the Brooklyn Academy of Music, and the violent youth is something New Yorkers know too.

Tom Vaughan-Lawlor in Mark O’Rowe’s Howie the Rookie ©Patrick Redmond

How it’s Irish: Written by Irish playwright Mark O’Rowe and set in Dublin

Watching the electric performance by Tom Vaughan-Lawlor as The Howie Lee and The Rookie Lee in this powerful tone poem of a piece was exhilarating and exhausting!

Set in Dublin, the play centers on the rivalries and violence surround a group of friends from the scruffier side of town.

It had only five performances, from Dec.10-through Dec. 14 as part of the Next Wave Festival.

Vaughan-Lawlor, best known currently for his tour de force performance as “Nidge” in popular Irish TV Drama “Love/Hate”, practically dances through the rapid fire dialaogue. 

Performing on a bare stage, in just a t-hirt and jeans, the vibrant words of O’Rowe literally sizzle forth from Vaughan-Lawlor as he paints the pictures of the joy riding, violent and even sexy exploits of Howie and his cohorts.

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Major Barbara by George Bernard Shaw – Overly Long Mind Play

How it’s New York: Gingold Theatrical Group and Pearl Theatre Company are New York based companies.

©Richard Termine

How it’s Irish: George Bernard Shaw is an Irish playwright.

George Bernard Shaw’s usual big themes of class, war and wealth were on the menu for the evening at (Project Shaw)  Gingold’s collaboration with the Pearl Theatre at their space on 42nd Street.

The play is a big one – seventeen characters and, in the case of this production, two hours and twenty minutes of Shaw’s witticisms and philosophical mind play.

Nine actors doubled, and in some cases trebled, for the amalgam of upper and working class characters, using changes of costume and accents, which were not fully convincing for the most part ~ the switch between accents proved too challenging for most of the cast. Perhaps aided by the fact that they didn’t have to play multiple roles, Hannah Cabell (Barbara) and Richard Gallagher (Cusins) were delights to watch for the most part and were worth seeing this production for. [Continue Reading]

The Irish Rep Throws A Party

The How it’s New York: The Irish Repertory Theatre has been a mainstay on the NYC theater scene since 1988.

How it’s Irish: The Irish Repertory Theatre stages the works of Irish and Irish-American classic and contemporary playwrights, encourages the development of new works focused on the Irish and Irish-American experience, and produces the works of other cultures interpreted through the lens of an Irish sensibility.

They were throwing a going away party the other night at The Irish Repertory Theatre – and the party was for them.  A talented cast of singers joined Artistic Director Charlotte Moore and Producing Director Ciaran O’Reilly to bid a temporary farewell to their home on West 22^nd Street, which has closed for renovations.  Meet Me At The Square, a festive and entertaining evening, featured musical numbers from many of the shows that have graced the company’s stage over the years. [Continue Reading]

Muldoon’s Picnic Series at IAC is Superb – Do Not Miss

How it’s New York: Irish Arts Center.

How it’s Irish: Irish born Paul Muldoon is a Pulitzer Prize winning poet and one of the most significant post World War 2 poets.  Irishman Martin Hayes is a renowned fiddle player from Ireland.

Muldoon’s Picnic is a combination of music and the spoken word hosted by poet and Princeton professor Paul Muldoon at the Irish Arts Center in New York from  September to  December  2014. Both expressive forms are well suited to this type of performance integration and the lineup on Oct 14, 2104 delivered a superb and memorable night. Highly recommended. Two more Picnics to go on Nov 11th and Dec 8th. Ticket details and lineups below.

Wayside Shrines with Martin Hayes at Irish Arts Center’s Muldoon’s Picnic Oct 2014_Photo Credit Amanda Gentile

I first saw Paul Muldoon (Pulitzer winning poet) in action with his new Jersey based band The Wayside Shrines in August 2014 at the New York Poetry  Festival on Governor’s Island. In an open-air arena competing with the crowds, vendors, wind and rain the band was very impressive but in the Irish Arts Center with in-house sound system the acoustics were superb. The music is a folk/traditional fusion (to me at least). Regardless of the category it is rhythm and organic. And fun. The individual musicians were flawless and obviously enjoying themselves.

Martin Hayes and Robert Pinsky at Irish Arts Center’s Muldoon’s Picnic Oct 2014_Photo Credit Amanda Gentile

Paul first introduced the band (and the story behind the Muldoon’s Picnic name) and then the first guest –  Ireland’s best fiddle player Martin Hayes.  Martin Hayes’s performance was amazing. Jigs, reels and    slow airs. It was obvious he is very gifted and deep in each song he plays. He was showing us something beyond the performance. Something living. Something profound. After his first selection of tunes the band members bowed towards him which says it all really.

The second guest of the night  Robert Pinsky (former Poet Laureate) who was accompanied by Martin Hayes on the poem ‘Samurai Song’. The effect was haunting and hypnotic. Pinsky’s second poem ‘Antique’ was just as powerful and wonderful. Pinsky is well known as a gifted reader of his own poetry and could see why. [Continue Reading]

New York Tradfest’s Saturday Night Concert: A Remarkable Showcase of Music and Dance

How it’s New York: The New York Tradfest Saturday evening concert took place in Connolly’s Klub 45 near Times Square, New York, NY and showcased many Big Apple musicians and dancer

Alice Ryan

s.

How it’s Irish: The New York Tradfest Saturday evening concert consisted mostly of Irish music and dance.

visit John Kearns at his own site, Kearnscafe

On Saturday October 18, 2014, the second annual New York Tradfest, organized by fiddler extraordinaire, Tony DeMarco, held its evening concert at Connolly’s Klub 45. Hosted fluidly by a leader of the traditional music scene in New York, the multi-instrumentalist and singer, Don Meade, the concert featured an all-star lineup of the traditional musicians and dancers of the Big Apple and beyond. The event offered five hours of top-notch music and it is hoped that this event will become an annual tradition.

The first performer I saw when I arrived was Alice Ryan, a sean nos singer from California who performed some beautiful songs in English. Ryan would also take to the stage as a dancer with a few of the other acts that followed. [Continue Reading]

Peter Quinn, and Fintan Dunne – “the suave Irishman who women find irresistible”

Peter Quinn reads hilarious speech he claims written by Mario Cuomo

How it’s New York: A New York author in a New York apartment with a book that revels in descriptions of the New York of yesterday

How it’s Irish: It’s the “Fintan Dunne” trilogy!

Peter Quinn was the guest of honor at a delightful literary evening at the home of Joe and Mary Lou Quinlan in Greenwich Village on Monday October 6^th. The occasion was the launch of the paperback edition of “Dry Bones”, the last book in the Fintan Dunne trilogy. Much as Quinn jokingly encouraged us all to throw away our hardback editions and help him emulate the sales of his fellow Manhattan College alumni James Patterson, this was very much a soft sell – in truth a convivial gathering of the New York Irish artistic world ( academics, historians, musicians and assorted literati ) and longstanding friends, ranging from college buddies to colleagues in the business world.

As I read “Dry Bones” I began to understand how this broad community was reflected in some of the strands weaving their way through the book.

At first sight the Fintan Dunne trilogy is a change of genre from the successfully ambitious historical novel Banished Children of Eve. But there are similarities. Although “Dry Bones” is built around a driving hard-boiled thriller plot, with Fintan Dunne the epitome of a “man’s man”, you soon find yourself drawn into an equally gripping web of historical detail and intrigue. While we might kid ourselves we would pick up a non-fiction book on the end game of World War II (and then go on to read it), we know that a last minute sense that this was too much like a job , or worse homework, would prevent us from picking it off the shelf. Quinn eases us into the story with the easy human voice in his characters, fills in the pieces of the jigsaw puzzle, and nudges us back to the bookstore.

The transition from the tail-end of World War II to the cold war espionage is intuitive. A flash forward to the corporate communications world of the New York of the 1950s at first seems awkward and less interesting of a story, but again we observe as a “fly on the wall” at the birth of post war public relations industry, and discover that truth can be a casualty of business equally as well as war.

Quinn is not satisfied with the convincing thriller denouement – even the Addenda shows his guile and wit as he assembles “documentation” that plays with our sense of the truth,  moving from articles that alternately verify what we have learnt, deny it in cover-up stories and then make a cheeky self-reference as the private dick’s secretary character declares her intent to write a series of detective novels about Fintan Dunne.

While “Dry Bones” is the last in the Fintan Dunne trilogy, following “The Year of the Cat” and “The Man Who Never Returned”, that in no way affects its success as a standalone read. This is partly due to the cinematic techniques it employs, and it was no surprise when it was announced by Carol Iovanna of Illuminati Productions on the night that plans were well under way for film adaptation, with Michael Fassbender’s name touted as the leading man.

The Stepcrew makes a big splash!

How it’s New York: It was the Stepcrew’s debut performance in New York City.

How it’s Irish: The show features Irish music and dance.

I arrived at Subculture Underground Arts at 7:20 PM last Thursday, after a long day in the recording studio, for a show by The Stepcrew.  The theater was completely packed, and an air of anticipation filled the warmly lit theater before the show began.

There were simultaneous conversations about other shows people had been to recently, and about what Stepcrew shows had been like in the past… but a only a couple things stood out.  Everyone was genuinely happy to be there, and everyone was exited to see the show.   Subculture as a venue is a perfect example of a place in a busy city where time slows down for a few hours, and where people can truly enjoy the arts firsthand.

There is something about the energy of the dancers that makes you want to dance.

The Stepcrew is an energetic and original new show which brings together three styles of dance forms – Ottawa Valley stepdancing, Irish stepdancing, and modern Tap.

With virtuosic dancers and musicians from The Chieftains, Cherish The Ladies, and Bowfire,

these artists and musicians take the audience on a wild ride to demonstrate the similarities and differences of these three unique dance forms. [Continue Reading]

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