Monday 27th August @ 7.00 pm
Good Old Days Rehearsal
A rehearsal for the Briery Gap in-house production of “The Good Old Days” will take place on Monday 27th August @ 7.00 pm
Please note change of date.
All are welcome.
Sunday 2nd September @ 8.00pm
Stage to Screen
“It’s a Grand Night for Singing”
Songs of the stage and silver screen.
Performers: Ryan Morgan (Tenor), Emma Kate Tobia (Soprano), Mary McCague (Piano/Violin)
Be enthralled as three of Ireland’s foremost muisicians – Emma Kate Tobia, Ryan Morgan and Mary McCague – combine forces to present a glittering gala of iconic songs from the stage and the silver screen. Be charmed and Bewitched by the music of Rodgers and Hart, Lerner & Loewe and Jerome Kern. Anything Goes in this eclectic musical myriad which also includes favourites from Showboat, South Pacific, West Side Story, Les Miserables and Phantom of the Opera. Lovers of classic and modern musical theatre will be thrilled and beguiled by performances of passion, romance, and frivolity.
Saturday 8th September @ 8.30 pm
The Great Hunger
by Patrick Kavanagh
The misery, deprivations and loneliness of an Irish rural esistence are brought to life in Jack Healy’s performance of Patrick Kavanagh’s epic poem, “The Great Hunger”, directed by Ger Fitzgibbon.
First published in 1942, it is the poet’s answer to the sentimentalised version of peasant life that he found prevalent among the Dublin literati.
The protagonist is bachelor farmer, Patrick Maguire, who is sexually and spirtually starved, living a humdrum exisence with his mother and spinister. Repression is a big theme, with Maguire describhing his mother as being “hard as a Protestant spire.” He relates how she would be ready to die if her daughter found a husband.
Maguire is married to the land, having failed to seize the day with the various women he encountered over the years.
Healy gives a solid performance. He is at his best when perched atop a pile of newspapers; he swings his legs and reveals a lighter side to his dark character.
But for the most part, Maguire cuts a sad figure, albeit one with great powers of observation and dry wit.
After his mother’s dath, Maguire sobs. But it is clear he is sobbing for himself. Healy doesn’t hold back here. He portrays Maguire as vulnerable, pathetic and worthy of pity.
Tickets €12 Concessions €10
Friday 14th September @ 8.00 pm
Margaret is driven to pass on the knowledge with which she has been entrusted; her theatre demonstrations and shows are always full of her unique humour and persoanlity that endears her to her audiences worldwide. Maraget takes her work very seriously and although we must always announce (in keeping with a new EU directive) that her appearances are classed as entertainment. Margaret simply asks that anyone attending any any event to do so with an open mind and judges for themselves!
Friday 28th & Saturday 29th September @ 8.30 pm
Briery Gap presents
The Good Old Days
Tickets for the above theatre shows are now on sale.
Children’s Matinees will commence in August with the following movies
Sunday 26th August @ 3.00 pm Mary Poppins
The summer season of films of will continue with the following:
Wednesday 22nd August—The English Patient
Anthony Minghella wrote and directed this award-winning adaptation of Michael Ondaatje’s novel about a doomed and tragic romance set against the backdrop of World War II. In a field hospital in Italy, Hana (Juliette Binoche), a nurse from Canada, is caring for a pilot who was horribly burned in a plane wreck; he has no identification and cannot remember his name, so he’s known simply as “the English Patient,” thanks to his accent. When the hospital is forced to evacuate, Hana determines en route that the patient shouldn’t be moved far due to his fragile condition, so the two are left in a monastery to be picked up later. In time, Hana begins to piece together the patient’s story from the shards of his memories; he’s actually Count Laszlo Almasy (Ralph Fiennes), of Hungarian nobility and an explorer working with a group mapping uncharted territory in North Africa. An Englishman, Geoffrey Clifton (Colin Firth), soon joins Almasy’s team; travelling with him is his lovely and spirited wife, Katherine (Kristin Scott Thomas). Katherine and Laszlo soon fall in love, which leads Laszlo to betray his friend, his country and all that is dear to him. Meanwhile, Hana and the Patient are joined by Kip (Naveen Andrews), a Sikh with a gift for defusing mines, and Caravaggio (Willem Dafoe), an intelligence agent who knows some of Laszlo’s most shameful secrets. The English Patient won nine Academy Awards, including Best Picture, Best Director and Best Supporting Actress (Juliette Binoche)
Wednesday 29th August—The Piano
Writer/director Jane Campion’s third feature unearthed emotional undercurrents and churning intensity in the story of a mute woman’s rebellion in the recently colonized New Zealand wilderness of Victorian times. Ada McGrath (Holly Hunter), a mute who has willed herself not to speak, and her strong-willed young daughter Flora (Anna Paquin) find themselves in the New Zealand wilderness, with Ada the imported bride of dullard land-grabber Stewart (Sam Neill). Ada immediately takes a dislike to Stewart when he refuses to carry her beloved piano home with them. But Stewart makes a deal with his overseer George Baines (Harvey Keitel) to take the piano off his hands. Attracted to Ada, Baines agrees to return the piano in exchange for a series of piano lessons that become a series of increasingly charged sexual encounters. As pent-up emotions of rage and desire swirl around all three characters, the savage wilderness begins to consume the tiny European enclave. Campion imbues her tale with an over-ripe tactility and a murky, poetic undertow that betray the characters’ confined yet overpowering emotions: Ada’s buried sensuality, Baines’ hidden tenderness, and Stewart’s suppressed anger and violence. The story unfolds like a Greek tragedy of the Outback, complete with a Greek chorus of Maori tribesmen and a blithely uncaring natural environment that envelops the characters like an additional player. Campion directs with discreet detachment, observing one character through the glances and squints of another as they peer through wooden slats, airy curtains, and the spaces between a character’s fingers. She makes the film immediate and urgent by implicating the audience in characters’ gazes. And she guides Hunter to a revelatory performance of silent film majesty. Relying on expressive glances and using body language to convey her soulful depths, Hunter became a modern Lillian Gish and won an Oscar for her performance, as did Paquin and Campion for her screenplay. Campion achieved something rare in contemporary cinema: a poetry of expression told in the form of an off-center melodrama
Wednesday 5th September @ 8.30 pm
Wednesday 12th September @ 8.30 pm
Wednesday 19th September @ 8.30 pm
Wednesday 26th September @ 8.30 pm
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