2011-2012 Season

“O’Neill’s drama REMAINS POWERFUL… [This] revival — plain, squarely built, acted with nail-on-the-head conventionality — confronts it honestly.” — Village Voice<

“NOT TO MISS… DEEPLY AFFECTING” — Irish Examiner

“Here is A WONDERFUL DEPICTION OF ONE OF THE GREAT AMERICAN DRAMATIST’S EARLY WORKS — not to be missed by lovers of vivid, grandly presented theater.” — The Epoch Times

“This WELL-DONE PRODUCTION of “Beyond the Horizon” provides A FASCINATING LOOK at O’Neill’s early presentation of themes that recur throughout his award-winning body of work.” — AP

“THERE’S SOMETHING SO EVOCATIVE about the set of the Irish Rep’s production of Eugene O’Neill’s first published play, from 1920… The large abstract painting with shifting colors, suggesting a wild sky and a turbulent sea, is a fitting backdrop for this story of a family suffering: Robert Mayo (Lucas Hall), a writer, dreams of going to sea but doesn’t, in order to marry his neighbor Ruth (Wrenn Schmidt), and it’s a bad match; instead, it’s Robert’s brother, Andrew (Rod Brogan), a farmer, also in love with Ruth, who sets sail to avoid seeing her with his brother. What starts badly ends worse. Brogan, under Ciarán O’Reilly’s direction, brings Andrew to life.” — The New Yorker<

“…A BRILLIANT REVIVAL… The cast interprets the play with understanding of the passion underlying O’Neill’s writing and themes. The offering is one more example of how valuable the Irish Repertory Theatre continues to be in bringing us important works with expertise.” — Wolf Entertainment Guide

CRITIC’S PICK! “The Irish Repertory Theatre, a risk-taking company that has presented many of O’Neill’s works, has blown the dust off this neglected, difficult classic and given it a fresh and challenging production. The admirable cast don’t condescend to the material but focus on the burning passions underneath the soapsuds, and the main theme of poetic illusions crushed by poor choices and unlucky circumstances is brought to achingly specific life. O’REILLY AND COMPANY SHOW US WHERE THE AUTHOR BEGAN THIS PAINFUL JOURNEY OF FACING LIFE WITHOUT DELUSIONS.” — Backstage

“CIARAN O’REILLY ONCE MORE DEMONSTRATES HIS ABILITY TO GIVE EXCITING NEW LIFE TO PLAYS THAT DON’T RANK WITH O’NEILL’S MASTERPIECES. It’s the choices made by Robert (Lucas Hall) and Andrew Mayo (Rod Brogan) and Ruth Atkins (Wrenn Schmidt) – each of which run counter to their natural inclination – that make this tragedy still resonate, especially in the Irish Rep’s beautifully staged and well acted production.” — CurtainUp

“Simple staging and solid acting… proves that this O’Neill play is still emotionally effective today. IT IS THE WINNING COMBINATION OF O’NEILL’S WELL-CRAFTED CHARACTERS INSIDE OF A BEAUTIFULLY STRUCTURED PLOT AND THE ENSEMBLE’S OVERALL STRONG ACTING THAT MAKES THIS PRODUCTION SHINE. What is evident in this production is that there is something indelible about the power of this play.” — Huffington Post

“CREDIT TO THE IRISH REP FOR CONSISTENTLY GIVING US FIRST-CLASS O’NEILL PRODUCTIONS. Let’s hope they continue breathing new life into his rarely seen plays, whether they’re worthy of it or not.” — nytheatre.com

“BEYOND THE HORIZON IS ANOTHER FINE O’NEILL REVIVAL FROM IRISH REPERTORY THEATRE. The production lays bare the play’s emotions while underplaying its melodrama.” — TheaterOnline

★★★★  “So you think you can captivate?  “Dancing at Lughnasa” — Brian Friel’s bittersweet Tony-winning play of common lives told with uncommon grace — does exactly just that in  A RICHLY SATISFYING REVIVAL at the Irish Repertory Company. Director Charlotte Moore has assembled a first-rate cast and guides her actors to sensitive and distinctive performances. That includes a wordless and cathartic dance choreographed by Barry McNabb. THIS WONDERFUL PRODUCTION OF THIS BEAUTIFUL PLAY FLIES HIGH.” — NY Daily News

“The off-Broadway Irish Repertory Theatre’s SUPERB PRODUCTION of Friel’s lyrical, bittersweet drama “Dancing at Lughnasa” is NOT TO BE MISSED. The haunting, autobiographical memory play, winner of three Tony Awards for its Broadway run in 1991-92, CASTS ITS MAGICAL SPELL YET AGAIN, under the artistic vision and sure touch of director Charlotte Moore, enacted by a fine cast.” — Associated Press

“What’s needed to bring such a script to life is a cast that brings out the vivid emotional lives underneath the words, and, fortunately, director Charlotte Moore has that in abundance. For those who can see it, this lovely memory play is SOMETHING WORTH REMEMBERING.” — TheaterMania

“Sensitively acted and gracefully directed by Charlotte Moore (with elegant choreography by Barry McNabb)…“Lughnasa,” by turns joyous and tragic, is UNLIKE ANYTHING ELSE IN NEW YORK AT THE MOMENT.” — Bloomberg

“…A SMALL JEWEL OF A REVIVAL. A fine ensemble in a fine play.” — New York Magazine

“In lesser hands this intimate, largely plotless portrait could easily drag but Charlotte Moore’s LOVELY PRODUCTION FEATURING SOME BEAUTIFULLY NUANCED PERFORMANCES and ample doses of humor allow the work to soar to poetic heights… in this fine collaborative effort, each one leaves an indelible mark on our own memories.” — Roma Torre, NY1

“Friel’s elegiac memory play… beautifully captures the tensions between desire and duty, past and present, and family and individuality. The actors are appealing, the staging simple, the music and dancing restrained but charming. Thankfully, in a play where many pivotal events happen offstage, THE CAST NAVIGATES THE TALKY TEXT WITH GRACE and their lilting brogues may make for some nice word-music.” — Time Out

“In Charlotte Moore’s fine production, Ciaran O’Reilly’s Michael is a particular triumph, with this always reliable actor absolutely at the top of his form, playing his character, as a child and as an adult, with a grace which eliminates any problems the role itself may present. As Gerry Evans, who fathered Michael, Kevin Collins is a standout, as is Orlagh Cassidy as the grim teacher, Kate, the sisters’ primary backbone. The sisters are outstanding, including Jo Kinsella’s free-spirited Maggie, Annabel Hagg’s lovely Chris, Rachel Pickup’s sober, restrained Agnes, and Aedin Moloney’s vaguely damaged Rose. Moore has done wonders with a reasonably difficult play. The choreography provided by Barry McNabb makes a solid contribution, since the text calls for a fair amount of dance. “Dancing at Lughnasa” is, beyond a doubt, ONE OF THE IRISH REPERTORY THEATRE’S BEST RECENT PRODUCTIONS.” — Irish Echo

“It’s a beautiful play, given a beautiful production. And IT WILL LINGER IN YOUR MIND AND CREATE A MEMORY OF ITS OWN.” — New York Irish Arts