Stageworks 2011: July 30 – Aug 6

Welcome to Stageworks.ie, the website for Ireland’s leading Drama and Theatre Summer School for Adults. Running successfully for many years, Stageworks is famed within Ireland’s amateur drama world for delivering the skills to grow and develop more satisfying, rewarding drama and theatre performances to its participants.

Nestled away for a week in stunning Gormanston College, Stageworks explores and develops a diverse range of acting techniques with its attendees, where they will work with the highest calibre of tutors to extend and enhance their performance skills and capabilities. The course caters for all levels of experience, from complete newcomers to drama to the extremely experienced thespian.

With the perfect balance of work and play, the social calendar for the evenings are jam-packed with all sorts of activities to keep you entertained after a day “treading the boards”. From the availability a private golf course, sports/gym facilities, theatre and quiz nights, to simple pleasures such as musical & singing sessions down in the local pub, it is this mix of drama and sociability that has led to the famous ‘Stageworks atmosphere’, which people love and return to year after year. There is no doubt that Stageworks is truly a unique experience, which simply cannot be found anywhere else.

This year we have 5 courses with 6 tutors on offer, have a look at each one below.

Course (A)

 “Outside The Box – The Snowball Effect” -  Mitch Mitchelson & Robert Hyman.

“My films grow like a snowball, very gradually from a single flake of snow”.  - Ingmar Bergman.

A unique collaboration between two regular Gormanston tutors, Robert Hyman and Mitch Mitchelson, pooling their skills, experience and resources towards achallenging and exciting devised presentation and performance.

We will draw upon a variety of performance techniques, freshly minted and extant songs, soundscapes, physicality, character work, clown, devising and story telling.

By thinking outside the box, we will deconstruct musical theatre, and seek an interesting and unusual marriage between musicality, drama and theatre.

We would like the participants to be able to think about the world of theatre and music differently, in a refreshing new light. But with truth and feeling, reflecting life.

Our snowflake will be the prologue from Jean Louis Barrault’s play “Rabelais”, a speech that places the actors and audience in the here and now and then connects them to the world.

The snowball will be created by the process. The fantastic premises of the Italian novelist Italo Calvino will be evoked with his blending of the wonders of the every day and his vision of the invisible world made visible. The journey of snowflake to snowball will come from our investigations, which we intend to be imaginative, funny, heart warming, instructive, revealing and challenging.

“Bit by bit, putting it together,

Piece by piece, only way to make a work of art.

Every moment makes a contribution.

Every little detail plays a part.”

 - Stephen Sondheim.

Course (B)

“Directing Through The Actors Instincts” – David Scott

To “Block” or not to block.

“What can the director do? Gently suggest the nature of the scene… and block the damn thing and go and smoke a cigarette. That’s it.” Theatre. David Mamet.

Ever the king of the grand, sweeping statement, Mamet suggests that the Actor has an innate sense of stage-craft that effectively turns him into his own best Director, rendering the Director obsolete in the theatrical process. Although arguably misguided and wilfully provocative, Mamet’s idea adds to those of many other practitioners who have sought to rethink the traditional role of the Director and Actor in the process of making theatre.

There is value in the suggestion that the trained or experienced Actor learns, sometimes subconsciously over the course of many shows, an instinctive awareness of the presence of the Audience. However, rather than playing up to the Audience, the fine Actor learns to continue to act well and convincingly, communicating with the other characters on the stage whilst including the Audience in the process; thus creating a heightened communication with the spectator that is intricately, intimately and uniquely theatrical.

This process redefines not only the relationship between Actor and Audience, but the relationship between Actor and Director. Although Mamet uses that tired term, “blocking”, the “blocking” is solved not by the finger-pointing of an authoritarian Director, but through the instinctive discoveries of the Actor who is immersed in the character’s predicament, seeking his character’s objective and all the while aware that his or her discoveries are only valid if inclusive of the Audience. The Director’s job is therefore shared, and the process of making theatre becomes less tyrannical and more a process of mutual discovery.

Will this process take more time than the wham-bam of quick-fire “blocking”? Ironically, no. In almost all cases, this collaborative process is faster, more effective and always more satisfying for the Director, Actor and Audience alike. It allows reactions to remain organic, emotion to remain raw and truthful whilst drawing the life at the core of the scene to the surface.

This approach to creating theatre also suggests a redefinition of the theatre artist as a “Total Creator”; an Actor who senses his or her own direction; a Director with an Actor’s instincts.

This course will suit Actors with a deal of experience or training, especially (but not exclusively) those with a knowledge of Stanislavski, Meisner, Adler or Strasberg. The course will also be highly beneficial to Directors seeking new and inspiring approaches to creating powerful and lively theatre and those who wish to discover new ways of communicating with Actors.

Participants, whether Directors or Actors, should bring a two or three-hander scene with them from a modern, realist play not predating Anton Chekhov. Plays can be sourced from any country but must be translated into the English language. The scene should be three to seven pages in length. The Director or Actor should learn one of the roles in the scene by rote before the course commences.

All participants should be prepared to both act and direct and be open to redefining the theatre within. The week will be active, practical and inspiring!

Course (C)

“Vocal Freedom” – Helena Walsh

This workshop, entitled Vocal freedom, will explore a variety of areas to develop good vocal technique. We will look at  how we connect the voice to the body and imagination through daily physical work and exercises. Having explored this, we will then apply it to our acting work through text work. We will explore both physical  and vocal improvisation to extend our range and as a result release a more embodied and grounded voice. Acapella choral songs will be sung to open up the register and create greater freedom and expression in the voice. Working  as a group and building a sense of ensemble will allow each participant go further in their own exploration of their voice. The workshop aims to free a more expressive, imaginative and playful way of using the voice.

The workshop fuses influences such as Roy Hart and Feldenkrais with those of Kristin Linklater and Cecily Berry. There is no single method or approach, only that discovered through years of teaching individuals to release their unique voice.

Mornings will be spent on vocal and physcial technique, using Feldenkrais and Roy Hart methods, finishing with some acapella work. Afternoons will be spent on free work through improvisation, physical play and games. We will also play with vocal range and create characters through body and voice. Evenings will be dedicated to text work.

Course (D)

“Aristophanes to Ayckbourn” – Andy Hinds

“Dying is easy. Comedy is difficult”  - Actor Edmund Gwenn.

Is there anything more satisfying than making people laugh?   Anything more embarrassing when an audience knows you are trying to make them laugh and they just aren’t ?

This course offers the opportunity to learn how not to embarrass yourself when acting in comedy.  You will be guided through the rehearsal and performance of a number of comedic scenes designed to give experience of the contrasting guises in which comedy has dressed itself throughout theatre history… 

… from the profane irreverence of 5th Centruy B.C. Athenian playwright, Aristophanes…. through the farts and firecrackers of medieval mystery plays… the character comedy of Shakespeare…  the commedia derived farce of 17^th Century Moliere…  the wit and  intrigue of Restoration comedy… the wordplay of Wilde… the outrageousness of Orton… the slapstick of Fo… and the social micro-surgery of Ayckbourn,…

There will also be various group activities designed to inform and support the rehearsing and performing.  There will, for example, be work to free the body for more farcical and knockabout comedy and for the physicality of ‘style comedy’ (‘style starts with a straight back’); time will given to the exploration of what is the ‘defining essence’ of the various types of comedy and what, if anything, they all may have in common… the mystery of ‘timing’ and ‘delivering’ a comic line will be investigated etc.   

Whatever else it is going to be it will be a laugh. I can’t wait.

Course (E)

“The Actor Prepares” – Jorg Andrees

How does the Actor prepare? Can the actor prepare in isolation? Can the actor be usefully involved in the creative process of theatre without knowledge of the director’s intention, the set, stage directions etc.?

The answer is yes.

This course will illustrate how the performer, relying on his / her own resources, inspiration and intuitions can come to the rehearsal process and usefully interact with other actors and the director’s instructions in the creation of compelling pieces of Theatre.

Employing ideas developed by M.Chekhov and other directors we will examine a range of tools for self directing including basic steps, self staging, self directing, self perception, improvisation, and many others.

We will work on solo pieces and scenes for two. We will also do some physical work (not too strenuous). There will also be time given to demonstration and discussion. Bring paper and coloured pencils. This course is for all newcomers and welcomes in addition those who have worked with Jorg before.

 

In addition to your main course we also offer you a FREE Tuesday Workshop from 2:15 – 5:30pm. Please indicate when booking which one of the following workshops you wish to avail of:

1. Musical Theatre … Robert Hyman 

2. Comedy… Mitch Mitchelson

3. Classical Theatre … Andy Hinds    

4. Voice …. Helena Walsh

5. M. Chekhov Introduction … Jorg Andrees

6. Stanislavski Intro .. David Scott.

Andy Hinds

Derry born Andy Hinds has, for many years, been a theatre director, playwright, acting teacher and (more recently) screenwriter/director. He is currently Artistic Director of Classic Stage Ireland.

Andy has had many successful theatre and opera productions over the years with all the main theatre companies in the country (Druid, Abbey, Gate, Lyric, Red Kettle, Charabanc, Wexford Opera…) Productions over the years include The Bacchae, Macbeth, As You Like It, The Winter’s Tale, Fidelio, La Cenerentola, Mother Courage, The Revenger’s Tragedy, All’s Well That Ends Well, Twelfth Night, Julius Caesar. Midsummer Night’s Dream, As You Like It… His highly successful production of Wild Harvest for Druid won A Bank of Ireland/ RTE Arts show award.  Andy has been Associate Director of the Bristol Old Vic with their long tradition of high quality productions of the Elizabethan, Jacobean and Restoration repertoire. 

He has had an ongoing association with the Royal Academy of Dramatic Art in London where for many years he taught and directed their classic productions. Also for RADA he created and taught their 3-month ‘International Acting Shakespeare Course’ for professional actors, directors and academics.  In Dublin for the last fifteen years he has specialised in the training of young and experienced actors in the performing of classical texts (at The Gaiety School, Trinity College, and with the ‘Classic Stage Ireland Acting Studio’).  He has lectured for a number of years on classic European Theatre at the Drama Studies Centre at UCD. 

He recently conducted a series of  Masterclasses in ‘Acting Shakespeare’ at Shakespeare’s Globe in London. 

His three stage plays, ‘October Song’, ‘The Starving’ and ‘Crystal’s House’ have had successful productions in England and Ireland and the first two are published by Carysfort Press. His radio play, ‘The First of the Day’ was broadcast earlier this year on RTE Radio 1. 

He is co-founder and Artistic Director of the acclaimed theatre company, Classic Stage Ireland.  Recent CSI productions have been ‘Sophocles’ Oedipus the King, Euripides’ The Bacchae’, Shakespeare’s ‘Julius Caesar’ and’ The Winter’s Tale’ – all at Dublin’s Project Arts Centre. 

He has just written and directed a half-hour film drama – ‘Anaemia’ – for Magnet Empirical Productions…

… and has just completed his own version of Euripides’ ‘Iphegenia in Aulis’ for production by CSI in June.                                                               

Robert Hyman.

Robert has spent over twenty years training young people for a career in theatre and working with and encouraging some of the best professional actors in the industry.

He is also a Conductor, Composer and Arranger of note with over thirty scores to his credit. As exclusive composer to Image Musical Theatre Company he currently has his musical versions of The Selfish Giant, The Little Princess and Beauty and the Beast touring the United Kingdom. He was also commissioned by the BBC to contribute songs to the most recent series of ‘Boogie Beebies’

As a conductor Robert has worked extensively with young people as Musical Director to the group ‘Theatretrain’. Venues include the Royal Albert Hall, the Sibelius Academy Finland, the Queen Elizabeth Hall and the majority of West End Theatres. Last year he made his debut at the O2 in London conducting a choir of 4,000 and repeats the experience this year with a choir of 6,000! As a Musical Director his many credits include: ‘The Big Life’ at the Apollo, Shaftesbury Avenue and ‘Come Dancing’, (written by and starring former Kinks front-man Ray Davies).

Since 1998 Robert has worked extensively as a composer and M.D. at Theatre Royal Stratford East and wrote the score and lyrics for this years pantomime Aladdin as well as the 2007/8 Christmas show ‘Cinderella’ which was nominated for an Olivier award for Best Production in Affiliate Theatre.

Mitch Michelson

As a free-lance teacher, Mitch Michelson has taught and directed extensively at a diversity of colleges and institutions including Rose Bruford, Central School of Speech and Drama, East 15, Italia Conti, the new physical theatre degree at St Mary’s University, Mountview, and The Royal College of Music. He has also run workshops for The National Theatre, the R.S.C. and the National Youth Theatre. He has taught internationally in the U.S.A, Hong Kong, Ireland, Austria, France, Italy and Luxembourg.

Having worked with the Natural Theatre of Bath in its early days and young people’s theatre in the East End of London as an actor, he set up the street arts company Original Mixture. He has played Trinculo for Sphinx Theatre Company and John Major’s dodgy circus clown brother Mickey Major for the Comic Strip. Recent research included the direction of Faust’s descent into hell from the 18th century pantomime the “Necromancer” for a conference on John Rich, the famous Harlequin actor, and Drury Lane producer and director.

He recently collaborated with the Turner Prize winner, Jeremy Deller, on an enactment of comedy routines on the beach for the Folkestone International Triennial Arts Festival. He is currently Head of Performance for the Degree Programme at the Circus Space where he teaches and directs as well as developing independent projects.

Jorg Andrees

Jorg was born in Berlin where he now works. He first studied film and for many years worked in that medium. He subsequently became involved in theatre which is now his main interest.

Jorg and a colleague of his founded the first Michael Chekov Conference in 1992 in Berlin. Out of it grew the world-wide Michael Chekov Acting Technique Movement. He is the co-leader of the Michael Chekov Studio in Berlin.

Currently he produces and directs theatre shows and dance programmes. He also performs solo-improvisations. He has delivered workshops world-wide on the Michael Chekov Method. This work has taken him to places such as the Eugene O’Neil Centre, USA; Cardiff University in Wales; School of Speech and Drama, Australia and the Orff Institute in Austria. He lives, with his family, in Berlin.

David Scott

David Scott is an Australian born actor, writer, director and acting teacher. He has worked extensively as a professional actor in both Australia and Ireland on television, stage and film, appearing in such programs as “All Saints”, “Water Rats” and “Home and Away” in Australia, and “The Clinic”, “Fair City”, “Damage”, “The Tudors” (series 2 and 4) and “Game of Thrones” since arriving in Ireland in 2004.

David is Director of the Performance Theatre Company at the Gaiety School of Acting and has taught for many theatre companies, drama groups and organisations across Ireland.  David is also Director of the Actor’s Wednesday Workshop, an extensive part-time program for advanced actors.

David is also Artistic Director of Company D Theatre, a theatre company and advanced training facility designed to assist newly trained actors in gaining production experience, on-the-job training and wider exposure to the Industry. Company D has produced thirteen extraordinary shows since its foundation in 2006, nine of which David has written, and is one of the most highly regarded new theatre outfits in Ireland.

David has taught actors advanced techniques since his early twenties, constantly developing his own cutting-edge approaches. David’s training method centres around the search for truth in character using the methods of Constantin Stanislavski coupled with his own methods of physical characterisation, vocal training and structured improvisation. Together, these ideas gel to create an acting technique that draws sustained, powerful and truthful performances from his students. 

Helena Walsh 

Helena Walsh is an Actor, Singer and Voice Coach.

She has taught voice for New York University’s Tisch School of the Arts Overseas Programme in Dublin and has also worked in the B.A. in Theatre Studies at University College Cork. Helena was a voice coach for several years on the Professional Actor Training Programme in Trinity College Dublin and has also taught voice in the Academia dell‘arte in Arezzo, Italy.

She taught internationally in France, Italy and New York and has worked as a voice coach on many professional productions including Amadeus (Oroboros) and The Alice Trilogy (Abbey Peacock). She assisted Andrea Ainsworth at the Abbey on The Plough and the Stars and Henry IV. Some of her Trinity and N.Y.U work includes Waiting for Godot, Twelfth Night, Double Cross, Yerma, Carthaginians, By the Bog of Cats and many more.

She is a founding member of Songspiel, a cabaret company that devises and performs their work in Dublin. She is currently teaching voice for the Irish Film Academy in Dublin and Cork.

Helena set up Actor Training Ireland in 2009 with two colleagues from Trinity Andy Crooke and Paul Keenan. This is a company set up to train professional and non-professional actors throughout the year.

Venue

Gormanston College is a secondary co-ed boarding & day school run by the Franciscan Order. During the summer months the college and its facilities are hired out to a number of groups and organisations to run their various courses and activities.

There are a wide range of facilities in the college which are available free of charge to Stageworks course participants. These include; indoor swimming pool, squash, tennis, golf (private 9 hole course), handball, running track and a gym. When the sun shines there’s also a beautiful beach located just 1km away!

The college is located approximately 40 mins north of Dublin city, just off the M1 motorway between Balbriggan and Drogheda. Dublin airport is 30Km away and there is also a train station located just 2km from the college.  For further details on all train and bus services please contact www.irishrail.ie and www.buseireann.ie

We have the following range of accommodation options available:

• Single room with ensuite
• Single room with wash hand basin adjacent to toilets & showers
• Twin bedded room with wash hand basin adjacent to toilets & showers
• Standard single room with shared bathroom

Please note: the course fee only covers the standard single room, a supplement is applicable for all other accommodation. Non-residential rates are also available on request.
View Gormanstown College Golf Club in a larger map

Check out a selection of pictures from 2009 & 2010

Fees

This year’s fee is €480.

This covers ALL course tuition, meals (breakfast / lunch / dinner), tea & coffee breaks, standard single room, access to all leisure and sports facilities within the college and organised social events.

Booking

Places on this year’s course are secured on a ‘first come, first served’ basis.

Each booking must be accompanied by a deposit of €150.

The remainder to be paid at arrival / registration at Gormanston College on Saturday July 30th between 3:30pm – 5:00pm.

To secure your place please send the booking deposit, along with the application form (click here to download) to Freda O’Donoghue, Beechlawn, Ballinasloe, Co. Galway.

Please note:  deposits are non-refundable & non-transferable, participants must be over 18.

 

“If they were honest, they would publish a health warning with STAGEWORKS at Gormanston!  It’s infectious.  It gets into the blood, it invades the DNA, it affects the soul. What’s more, there’s no cure.

From the moment you enter the gates and drive through its park land, the Gormanston virus has started to work on you. You can feel it. At first, a tingling anticipation, small volts of expectation charging within.  By then, it’s too late.

To the first timer, the unfamiliar quickly becomes as comfortable as a pair of old, favourite jeans. To the veterans, it’s a homecoming: a time of hugs and handshakes, new stories to tell and old ones to savour. Ahead of you is week of experiences, profound, inspiring, but above all, deliciously… ridiculously enjoyable.

And the courses? There will be challenges. You will feel the tight grip of frustration and the exhilarating heights of success. But as always, there are the tutors…. friendly, professional and supportive.

There will be long nights and puff- eyed mornings, inspiring work and warm companionship on the steps over hot, sweet tea. And in the evenings… pints to down, stories to share and jokes to howl at. At the end of the night, gloriously tired, you will trundle home, pausing a while on the steps for one last bit of craic before finally turning in.

Come the week’s end, a sense of achievement and the bitter “sweet sorrow” of parting. By then the infection will be complete.

You have been warned!” – Gavin Neilly.

“My first taste of Stageworks was about 10 years ago and since then I have returned whenever possible. I have always chosen Musical Theatre purely because of the fact it is so enjoyable and fulfilling. There is a great sense of camaraderie between all participants and I have made some great friends out of it over the years.

For anyone who would like to get an insight into the other courses or perhaps try their hand at something new the following year, the one-day workshop gives everyone the perfect opportunity to do this. When it comes to the evening entertainment all courses come together and enjoy a beverage or two down the local where there are quizzes, fancy dress and plenty of sing songs that last into the early hours for those who have energy left to burn.

For anyone who may be a bit apprehensive or have no previous experience, let me tell you it is such an enjoyable week with so much to learn and do and will leave you with growing anticipation for the following year. Stageworks means different things to different people, for me it is an opportunity to explore one of my passions, while in a friendly and enjoyable environment”. – Anita Kirwan

“I first learnt about Stageworks back in 2004 through my local drama society which I had recently joined. I knew absolutely nothing about the course or what to expect but decided to give it a try anyhow. I was apprehensive when I first walked through the gates of Gormanston college but before too long I took to the place like a duck to water, hence this year will be my seventh in succession.

The quality of the courses combined with excellent tutors makes for a great week and the craic is mighty. I can promise you that you will not be disappointed by choosing Stageworks. Roll on August I cant wait”. - Paddy Campbell

“I’ve been to Stageworks at Gormanston for the past three years, and have made many many great friends and have thoroughly enjoyed the experiences every year has brought. Each time I’ve sampled different courses, which have been excellent both in content and for their sense of fun. There’s no doubt, I’ve been challenged and forced out of my comfort zone during those weeks, but goodness, am I better for it! Since going as a complete drama “newbie” in 2007, I have tread the boards a few times, which would not have happened if I had not gone and immersed myself in the totally different world at the week of “Gormo”. It is infectious and so I am infected”. – Bridget Kelly

“Gormo… no  ordinary drama course… “IT’S BRILLIANT!” And when you are done, you emerge tired but, charged, electrified, bristling with life… and the feeling lasts and lasts. Never forgotten.

You don’t even have to be all that involved in drama, music or the arts to gain full value from  “Gormo”. I’d recommend to anyone who needs to give their lives a boost. But, if you are a drama lover… GREAT!

Three Gormonston years in a row now for me and booked in for my forth. I’ll be dramatically and socially snorkelling, diving and skiing come the beginning of August… metaphorically speaking of course. I would say to anyone, even vaguely interested in drama, to take the plunge and don’t mind your auld paddlin’. It’s healthy for the mind and the spirit. You will learn volumes and the sociability is special.

Roll on August and Gormo 2010. Can’t Wait!!”! - Frank McGrath M.I.S.H.A.A.

“I was a newcomer to Stageworks, but it was only by chance that I encountered this week long experience. I dropped my girlfriend to the college as she had been coming here for years and always raved about how much she got from the course and the people she met. As she was getting settled in I began to take notice of the friendly atmosphere from the people around me. My interest had suddenly been sparked. I found out through the friendly and approachable staff that there was a place available and decided to take a leap of faith and register for the Musical Theatre course with Robert Hyman. It was one of the most interesting and inspiring weeks of my life and it opened a passion inside to explore more about Musical Theatre. It was also therapeutic to be with people who had a common interest and appeared to thoroughly enjoyed themselves.

The craic was mighty, both in and out of class and the week never failed me in my expectation. I would highly recommend enrolling in Stageworks as it brings the best out in everyone” - Padhraic Lonergan

“Having been a regular at Stagewise Youth Residential Summer Camp in the 90′s, my progression to Gormanston adult course was inevitable. Stageworks at Gormanston provides a most interesting mix of drama courses, each challenging and thoroughly enjoyable. This coupled with a hectic social calender makes for a truly memorable experience. The week is like a haven for mind and body, far from the madding crowd. My cares and worries are left at the college gate while I embark on another exciting journey of relaxation and self discovery”. - Wilma Nicholl

“There is no place I’d rather be, from the last weekend in July to the 1st weekend in August every year, than at Stageworks in Gormo!

I’ve been attending Stageworks every year since 1996 and it would take a lot to make me miss it. There are people coming there a lot longer than me – 25+ years – by comparison to them I’m still only in “junior infants”! They give a lot of thought to the variety of courses on offer and I have learned so much over the years both from the tutors and the participants. I have done musical theatre, Stanislavski, comedy, story telling etc and have enjoyed them all apart from one course. I have yet to do Chekhov!

The entertainment is great.  The evenings are packed and usually extend in to the early morning for the young and the foolish. (I would fit into the latter category.)

But the best part of all is the friends you make in Gormo. I have met some wonderful people over the years and it’s like going to a party and catching up with friends on the first day of the course. New faces are always made welcome and the “oldies” always ensure that the newcomers know what’s on and where – no one is left out.

As I said, I wouldn’t be anywhere else!” - Margaret Farrell

“Between Stagewise and Stageworks this summer will be my 10th year returning to Gormanstown. Every summer I return, I honestly believe it just can’t get any better and within a day or two that thought has clearly disappeared!

From the moment you get that familiar butterfly feeling in your stomach as you get near the college for your first day until you are hugging all your new and old friends saying a tearful goodbye on your last day, you are guaranteed a week you will never forget. It will be a week of hard work, hard play and very little rest! It will be a week full of surprises in so many ways, most of all you will surprise yourself (mainly at how little sleep you can survive on!).

Here is just a taster of what you can expect: what keeps me returning every year is what I get out of the course I pick. From Stanislavski to comedy to musical theatre to whatever you choose, you will get to class in the morning excited about the day ahead and you will leave every evening wanting more. It amazes me just how much can be learnt and achieved in just one week, thanks to the amazing tutors.

Then you hit the pub for all the craic, the madness, the stories, the jokes, the laughter and if you are lucky… the Ashes!!!!! Finally I just have to mention the friends you will meet along your journey. They are the friends who will help you wake up in the morning because you were up until the wee hours, they will get you your coffee during break, they will listen to your life story, they will be there to walk/carry you home from the pub, they will look just as daft as you do at the fancy dress, they are the people you can’t wait to see again year after year.

WARNING: Stageworks is an addiction!! :”) - Angela Fealy

FAQ’s

 

What to wear?

Bring working clothes. You’ll need a pair of soft shoes for the working sessions and it’s always a good idea to have some jeans, tracksuits and general casual wear. Don’t forget to bring your dancing shoes too for the famous Gormanston social scene!

What’s the social scene?

Stageworks is famed for its social scene, and 2011 is no different. Check out this year’s “after hours” activities below. Participants are also welcome to bring along any instruments (guitars etc) for an impromptu session or two!

Sunday… Music & Dance

Monday… Quiz Night

Tuesday… Theatre Night

Wednesday… Theme Night: “The Swinging 60′s”

Thursday… Tutors Night

Friday… Dance The Night Away

Plus The GX Factor nightly in the Black Box

Theatre Night Tuesday

This year as always participants will have the opportunity to visit one of the many Dublin Theatre’s on the Tuesday night. Although we are glad to help, participants are advised to make their own bookings and arrangements for this event.

Texts & Books

You will be advised of all texts and books needed on your course prior to your arrival in Gormanston, just keep checking back here for the updates. As always a selection of plays, scripts and theatre books will be available for purchase from our bookshop in the college.

Click to view the Stageworks forum (opens in new window)

Feel free to start new discussions and join in.

Have fun…

Contact

 

For bookings & general enquires please contact Freda:

Tel: 090 96 43338

Email: stageworks@eircom.net

For media & promotional opportunities please contact Ronan:

Tel: +353 87 6829729

Email: stageworksireland@gmail.com

Stagewise 2011

Ireland’s Leading Residential Performing Arts Camp.

Stagewise is Ireland’s leading residential performing arts course ideal for young people aged 12-18 who have an interest in exploring the world of performing arts. Held annually at the Kings Hospital School in Palmerstown Dublin, it provides an opportunity to develop a range of performance skills including acting, dancing, singing, comedy, mime, and improvisation.

Since its launch in the early 1990′s Stagewise has helped thousands of young people develop their confidence, creativity and communication skills. Now firmly established, it has become an annual summer event with a well earned reputation as a well-organised and thoroughly enjoyable week.

During the course each participant will get a taste of what it is like to train for a career in the performing arts world working with some of the industry’s top tutors from both Ireland and abroad. Work begins each day at 9:30am and continues with breaks for meals until 8:30pm. Every evening there is a supervised social programme which includes a varied range of social, sports and leisure activities.

If you have an interest in pursuing a career in the performing arts or if you wish to develop your personal skills this course is for you.

In short, Stagewise 2011 will help you…

• Improve your communication skills
• Develop your confidence
• Explore your creative talents
• Learn about Theatre & Drama
• Develop your acting potential
• Enhance your personal development

More information available at:

W:       www.stagewise.ie

E:        stagewiseireland@gmail.com / stagewise@eircom.net

T:         090 964338 / 087 6829729

Twitter.com/stgewrks

Facebook.com/stageworksireland

Stageworks 2011

The response of the participants at the closing assembly of Stageworks 2011 at Gormanston was one which conveyed a very great sense of satisfaction with both the work of the tutors and the atmosphere of good will and friendship which prevailed during the entire week.

Both newcomers and regular participants alike were fulsome in their praise for the quality of the tuition and a most enjoyable social programme.

This year, in addition to a number of courses which generated the usual very high standard of achievement there was particular praise for the innovative combined tutor course offered by Robert Hyman and Mitch Mitchelson. Starting with a blank sheet, they and a very committed team presented what amounted to a stage musical in six days. This was an impressive achievement from the group and of course Robert and Mitch henceforth to be styled “Robich”  Take note actors and directors those of you involved in Musical Theatre. We can repeat the process.

On behalf of all the organising team sincere “Thanks” to all who participated in Stageworks 2011 and also to the many people who have generously given of their time and expertise. Their support is very much appreciated.

Eamonn & Freda O’Donoghue

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