Tuesday afternoon brought about the announcement of the 2010 Oscar® Nominations and when Anne Hathaway and Academy president Tom Sherak reached the category of “Best Animated Feature” and said the title The Secret of Kells, a thunderous uproar of exhilaration and celebration could be heard across Kilkenny and in the Devious Theatre camp! Paul Young (who has previously worked with us on Trainspotting and Stags and Hens) is producer on this wonderful film and is a founder of Kilkenny-based animation studio Cartoon Saloon. It also just so happens Paul was currently deep into rehearsals on our upcoming production of Dario Fo’s Can’t Pay? Won’t Pay!

Unfortunately, and very understandably, Paul has had to leave our production and will spend the next month jetsetting on a whirlwind press tour for his movie. It’s hard to call this news bittersweet, as we are utterly thrilled for Paul and everyone at Cartoon Saloon but it is also sad to see him go. Paul (pictured above in makeup during a makeup test) approached his role with much gusto and had put in a gargantuan amount of work into rehearsals over the past weeks. We wish him, Tomm Moore, Nora Twomey and the crew at the Saloon the very best of luck on March 7th! We’ll cross all of our collective Devious fingers and toes and we hope a shiny, bald golden fella is brought back home.

Replacing Paul in the show will be David Thompson, a man who many will recognise as ‘The Madman’ from our previous production of Accidental Death of an Anarchist.

Dario Fo Season continues with Can’t Pay? Won’t Pay! running from 10-14 of March at Set Theatre, John Street Kilkenny. Tickets are on sale now.

Namely, a great play from an acclaimed playwright, a fine comic cast, a country with a whole host of problems and a play that’s so relevant and so biting that it couldn’t be more apt if you tried. These are the ingredients that we’ve been assembling and mixing together over the past month as we knuckle down to the second part of our Dario Fo Season, Can’t Pay? Won’t Pay!

The play itself was written by Fo in 1974 when the self reduction movement was taking hold in Italy. This saw Italian housewives rebel against the cost of living by taking goods from shops and only paying what they felt was necessary. Fo turned this situation into a razor sharp farce which offered a satirical condemnation of the blights of unionism, inflation, party politics and yes, the church.

As is par for the course with Daro Fo’s work we have made the play relevant to our current situation in Ireland and as we found with our production of Accidental Death Of An Anarchist back in December, there’s a lot of material we didn’t even need to touch and it was still completely relevant. Some things never change I guess.

The glare of our version of Accidental Death Of An Anarchist was focused on collusion between the government and gardai and the double standards of the justice system when it came to prosecuting the poor and protecting the rich. The play looked at all the rotten institutions of the country and how they exerted their grip on the populace. With Can’t Pay? Won’t Pay! we’re focusing more on the local than the national with the play exploring the domestic situation of two working class couples and what happens when unemployment rears its ugly head and they can’t pay the bills any more. We’ve put the script through the ringer and tried to make it as relevant and as sharp as we possibly can. Can’t Pay? Won’t Pay! is certainly a more optimisic, happy go lucky play than Accidental Death Of An Anarchist but it does not lack Fo’s trademark contempt for church, state and the authorities. Whereas Accidental Death Of An Anarchist was about keeping your head held high in the never ending shit storm of corruption, Can’t Pay? Won’t Pay! explores the theme of not depending on the unions and political parties and doing things for yourself.

Rehearsals have been barrelling along,  the initial blocking is being put in place and we’re honing the same commedia dell’arte style we employed for our last foray into Dario Fo’s work. The rehearsals have seen an awful lot of jumping, gurning, funny walks, crazy voices and the usual tea and biscuit sessions that we dunk and slurp our way through every rehearsal process.

So, the ingredients are in place and we’re starting to throw them together into what at the moment resembles a glorious lumpy mush. The promo process is underway with the final poster being worked on and a photo shoot taking place this past weekend so everything is ticking along nicely. All we have to do now is take a whisk to it.

Tickets have also gone onsale and if you want to get a nice reduction in the fee before the end of January, you can buy them at http://tickets.devioustheatre.com/ with the discount code cpwptwitter. That’s some recession busting theatre prices right there folks.

Can’t Pay? Won’t Pay! runs from 10th – 14th March 2010 in the Set Theatre, John Street, Kilkenny.

Myself and John were having the usual post-rehearsal chat last night the eventually wound its way around to one-acts, festivals theatre, getting out and about – all of which reminded me that the Dublin Fringe Festival is looking for submissions for this year’s programme of events with Absolut Fringe running from September 11th – 26th in various venues around Dublin City.

Here’s their blurb…

Dublin Fringe Festival is delighted to welcome submissions for the 2010 edition of ABSOLUT Fringe, running from 11-26 September. For two weeks in September Dublin will be captivated by theatre, dance, music, visual art, live art and street performance from Ireland and around the globe. We invite you to join us in making it happen.

Dublin Fringe Festival has always been the natural home of artists who are ambitious, adventurous, innovative and fearless, and who make work in all kinds of places and spaces around Dublin city. This year, a continued emphasis will be placed on new work that reclaims more of our city’s empty spaces and experiments with performance and experiential arts on a grand and minute scale.

In 2010 the festival will have a particular focus on works that engage with the theme of community, to be interpreted as liberally and imaginatively as possible by the artists we work with. Too often ‘community’ becomes a byword for disadvantage and exclusion where the myriad possibilities of community, both on and offline are ignored. Dublin Fringe Festival would like to re-imagine the idea of community in 2010. To do this, we need you, artists and thinkers, to make it happen. We want to hear your ideas whether you work in theatre, music, dance, visual art, street-art, film, multi-media or beyond.

The deadline for applications is 6pm on Friday March 12th so you’ve a few weeks to go yet. For anyone interested in apply, the organisers have a pre-application workshop taking place on Wednesday February 10th at 6:30pm with the festival site also providing an online FAQ, a guide to venues and of course, the online application.

Devious road trip to Dublin? C’est possible (says he in an out-rrrrrageous French accent)…

ArtLinks, set up to connect and promote arts communities in the south east (they’re based here in Kilkenny) have announced details of their next round of theatre courses. We’ve been along to some of them ourselves over the past year or two and for people starting out in theatre they can be of great help and information. The next round of courses on offer are advanced theatre workshops, delivered in association with the new GB Shaw Theatre at Visual in Carlow.

ArtLinks are going to sponsor one application from each of the five ArtLinks counties, those being Kilkenny, Carlow, Wicklow, Wexford and Waterford County (not Waterford City). Here’s the skinny…

The course is intended to provide an insight into professional performing arts practice and to assist amateur and professional performers and theatre artists to develop their practice and understanding of movement, voice and text, performance, and directing. This intensive advanced theatre course is open to anyone with previous performing arts experience at amateur, student or professional level. It will run 10.30pm to 4.30pm every Sunday in March 2010.

Places are extremely limited and participation in the workshops is by application.

Course dates and tutors are as follows –

• Sunday March 7th 2010 Movement with Bryan Burroughs
• Sunday March 14th 2010 Voice and Text with Andrea Ainsworth
• Sunday March 21st 2010 Performance with Aaron Monaghan /li>
• Sunday March 28th 2010 Directing with David Horan

Applicants must submit a brief biog/ CV outlining their performing arts experience along with a short letter of no more than 600 words explaining their interest or what they hope to gain from the course.

Applications must be received by February 19th 2010. Applicants should email info@gbshawtheatre.ie with Theatre Workshops Application as the subject line of the email or by post to Theatre Workshops Applications, GB Shaw Theatre, Old Dublin Road, Carlow. Successful applicants will be notified of acceptance within seven days.

The course fee for participants is €170. Applicants should not forward fees until their application has been accepted.

ArtLinks is sponsoring one place on the course for ArtLinks members from each of the five ArtLinks counties. Applications for these subsidized places should be sent to the members County Arts Officer instead of The GB Shaw Theatre. ArtLinks Applications must be submitted by 19th February 2010 to your ArtLinks County Arts Officer.

In the case of Kilkenny, applications should be delivered to Mary Butler at Kilkenny County Council Arts Office, 76 John Street, Kilkenny, or if you’re passing through John Street, the arts office is now located in what was the old Meubles furniture store on the lower part of John Street. For more details on ArtLinks check out ArtLinks.ie, registration on the site for arts practitioners in the south east region is free.

New local theatre group What’s On Tom are reviving their production of Seven Deadly Scenes this weekend with two performances in Kilkenny on Friday and Saturday night. The programme is made up of seven new short plays featuring some works from local writers including our own John Morton (writer Heart Shaped Vinyl, Smitten). You can read John’s own review of their first performance last November.

Having staged a three night run in Thomastown around two months ago, the group are taking their performance to the Set Theatre on John Street this Friday night, returning to the Bridgebrook Arms in Thomastown on Saturday night. Tickets for each night are available from their respective venues, priced €10.

Performed on the night are The Widow & The Bride by Hillary Gallagher, Waiting For Double O by Gillian Grattan, adele_edwards@slander.com by Alan Cliff, The Murder of My Mother by Hugh Cardiff, Lungfish by Dermot Corrigan, Dumped by Arnold Thomas Fanning and Tenterhooks by John Morton.

Performances each night start at 8pm and given that it’s a night off rehearsals for us, some of the cast and crew of Can’t Pay? Won’t Pay! will be taking in the shows as well. If you’re heading along on Friday night, we’ll see you there, and if you’re reading this and involved in any of the performances this weekend, best of luck from ourselves at DTC.

Every town has one. Every large company has one. Every pub has one. Every class room has one. The comedian, or at least someone who fancies themselves as a comedian. Well, if you’ve ever thought about getting into standup, there’s a workshop taking place in Kilkenny this Saturday that will get rid of your fear of public speaking and turn you into a standup comedian, all in one day. Of course, there’s no point in testing you out amongst the group of people on the workshop, no!

Once the workshop is complete, you get a short break before the doors open to the public for a standup show. All of this takes place in Cleere’s Theatre, this coming Saturday. We’ve already mentioned our love of Cleere’s as a venue, having staged some of our own productions in the space, but you’ll also get to follow in the footsteps of many a headlining Irish comedian with Cleere’s a staple venue in the Cat Laughs Comedy Festival annual lineup.

The course is being delivered by coach and comedian Padraig Hyland and according to Cleere’s yesterday, there’s already seven places on the course gone but places are limited.

The course itself aims to build your confidence, improve your presentation and public speaking, have fun and “an amazing experience”, learn how to make people laugh and ultimately get you up on your feet as a standup comedian because “if you can do standup comedy, you can do anything”.

The workshop is on Saturday January 23rd 2010 in Cleeres Pub, Parliament Street from 10am to 5pm with the show starting at 7pm. One day workshop and stand up show in the evening is 120 Euro. Contact Liam on 0863442003 or email at lpjryan13@gmail.com to book a place.

Bit of a long-winded title there but you get the drift. I wrote on my own blog last week or thereabouts on our online ticket sales process and how we were going to discount some online tickets for those of you who took the first step with Accidental Death of an Anarchist in terms of buying tickets online.

In my best Harvey Norman-type voice, we’re giving you theatrical early birds three Euro off each ticket purchased between now and February 1st. Consider it a Can’t Pay? Won’t Pay! early bird special. How do you avail of this offer? When purchasing your tickets from our ticket portal, click the “enter discount code” link and use the code cpwptwitter (we gave the code out on Twitter this morning).

There are no restrictions on this code. Feel free to use it as often as you like, on as many tickets as you like and share with as many people as you like. Our standard ticket price for the show is €13, so we reckon a €3 discount on tickets is a nice way of saying “thank you”.

The discount code will expire on February 1st, at which time we’ll have to restore ticket prices to €13. Those who bought tickets for Accidental Death of an Anarchist online will still be available to avail of a discounted ticket price but we’ll be contacting you individually to let you know of your own special once-off code.

Reserve your Can’t Pay? Won’t Pay! tickets today.

Note: This discount only applies to tickets purchased online. Ticket sales are handled by Eventbrite and incur a booking fee. The discount applies to the cost of your ticket, ex-booking fee. Though subsequently, as the booking fee is percentage based on the cost of the ticket, the booking fee is reduced to €1, stretching your saving to a whopping €3.07 per ticket. Physical tickets will be on sale in locations around Kilkenny from next week.

The nominations for this years Irish Times Irish Theatre Awards were unveiled in today’s edition of the paper.

A lot of the usual suspects make up the bulk of the nominations but as the judges are clear to state, it’s not about resources in the face of the funding constraints, it’s about quality, so fair enough. Although after the fresh talent and writing that was present in last year’s nominations, it’s slightly disconcerting to see a good chunk of nominations going to very familiar plays, some of which have been significantly overperformed in recent years. This can probably be put down to what the judges call ‘a very disappointing year for new writing’. Let’s hope 2010 offers a lot more in that regard. One refreshing exception is the inclusion in the Best Production category of The Ark’s production of The Giant Blue Hand by Marina Carr, a serious big up for children’s theatre, an area too often over looked by the theatrical establishment in Ireland.

The bulk of nominations go to the Corn Exchange’s well reviewed production of Freefall by Michael West and Druid’s production of Tom Murphy’s The Gigli Concert.

The awards take place on February 28th.

Nominations

Best Actor

Denis Conway : As The Irish Man in the Druid Theatre’s production of The Gigli Concert by Tom Murphy, directed by Garry Hynes

Stuart Graham : As Ray in the Decadent Theatre’s production of Blackbird by David Harrower, directed by Andrew Flynn

Andrew Bennett: As A in the Corn Exchange Theatre’s production of Freefall by Michael West, directed by Annie Ryan

Conor Lovett: As Ishmael in Gare St Lazare Players’ production of Moby Dick by Herman Melville, adapted by Conor Lovett and Judy Hegarty Lovett, directed by Judy Hegarty Lovett

Best Actress

Gina Moxley: As Woman in Prime Cut’s production of Woman and Scarecrow by Marina Carr, directed by Emma Jordan

Stella McCusker : As Mag in the Lyric Theatre production of The Beauty Queen of Leenane by Martin McDonagh, directed by Richard Croxford

Kate Brennan : As Jess in the Hatch Theatre Company in association with Project Arts Centre production of Love and Money by Dennis Kelly, directed by Annabelle Comyn

Maeve Fitzgerald: As Julie in Purple Heart Theatre’s production of After Miss Julie , a version of Strindberg’s Miss Julie by Patrick Marber, directed by Ronan Leahy

Best Supporting Actress

Ruth McGill: In various roles for Corn Exchange Theatre’s production of Freefall by Michael West, directed by Annie Ryan

Eva O’Connor : As Girl in Manchán Magan’s production of Broken Croí/Heart Briste by Manchán Magan, directed by Tom Creed

Maeve Fitzgerald : As Woman in Anú’s production of Basin by Gary Duggan and Jessica Traynor, directed by Louise Lowe

Kate Brennan: For various roles in the Making Strange Theatre Company in association with Project Arts Centre production of The Last Days of Judas Iscariot by Stephen Aldy Guirgis, directed by Matt Torney

Best Supporting Actor

Karl Quinn : As Sorin in the Loose Canon’s production of Anatomy of a Seagull by Chekhov, adapted and directed by Jason Byrne

Bryan Burroughs : As Snowdrop in Barabbas’s production of Johnny Patterson: The Singing Irish Clown by Little John Nee, directed by Raymond Keane

Karl Sheils : As Tommy Stein in the Oroborous’ production of The Death of Harry Leon by Conall Quinn, directed by David Horan

Malcolm Adams : As Sheridan in the Abbey Theatre’s production of Only an Apple by Tom McIntyre, directed by Selina Cartmell

Best Director

Annie Ryan: For Corn Exchange Theatre’s production of Freefall by Michael West

Garry Hynes : For Druid Theatre’s production of The Gigli Concert by Tom Murphy

Matt Torney : For the Making Strange Theatre Company in association with Project Arts Centre production of The Last Days of Judas Iscariot by Stephen Adly Guirgis

Dylan Tighe : For The Stomach Box production of No Worst There Is None composed by Seán Óg

Best New Play

Barry McKinley : For Elysium Nevada produced by Bewleys Cafe Theatre

Michael West : For Freefall , produced by Corn Exchange Theatre

Richard Dormer : For The Gentlemen’s Tea-drinking Society , by Richard Dormer produced by Ransom Theatre Productions

Manchán Magan : For Broken Croí/Heart Briste , produced by Manchán Magan

Best Production

The Stomach Box in association with Poetry Now: For No Worst There is None , composed by Seán Óg, directed by Dylan Tighe

The Ark cultural centre : For The Giant Blue Hand by Marina Carr, directed by Selina Cartmell

Hammergrin Theatre Company : For Hollander by John McCarthy, Ciaran Ó Conaill and Sarah-Jane Power, directed by Sarah-Jane Power

Loose Canon : For Anatomy of a Seagull by Chekhov, adapted and directed by Jason Byrne

Best Opera Production

Wexford Festival Opera: For The Ghosts of Versailles by John Corigliano, directed by James Robinson

Opera Ireland: For Mazeppa by Tchaikovsky, directed by Dieter Kaegi

Castleward Opera: For Die Fledermaus by Johann Strauss, directed by Tom Hawkes

Opera Theatre Company : For Alcina by Handel, directed by Annilese Miskmmon

Judges’ Special Award

Limerick Hub and Belltable : For reinvigorating professional theatre in Limerick

Opera Theatre Company : For its commitment to fostering Irish-based talent. Above: some of its “Young Associate Artists”

Tania Banotti and Theatre Forum : For leadership in the National Campaign for the Arts

Conor Linehan: For setting the standard for original composition in theatre

Best Designer: Lighting

Aedín Cosgrove : For Pan Pan Theatre’s production of The Crumb Trail by Gina Moxley, directed by Gavin Quinn

Sínead Wallace: For Landmark’s production of Knives in Hens by David Harrower, directed by Alan Gilsenan

Ben Omerod : For the Abbey Theatre production of The Last Days of a Reluctant Tyrant by Tom Murphy, directed by Conall Morrison

Best Designer: Sound

Roger Gregg : For Barabbas’s production of Johnny Patterson: The Singing Irish Clown by Little John Nee, directed by Raymond Keane

Séan Óg : For The Stomach Box production of No Worst There is None composed by Seán Óg, directed by Dylan Tighe

Ben Delaney and Conor Linehan : For the Abbey Theatre production of The Last Days of a Reluctant Tyrant by Tom Murphy, directed by Conall Morrison

Best Designer: Costume

Joan O’Clery : For the Abbey Theatre production of The Last Days of a Reluctant Tyrant by Tom Murphy, directed by Conall Morrison

Gaby Rooney: For The Ark production of The Giant Blue Hand by Marina Carr, directed by Selina Cartmell

Rodrigo Rodriguez : For the Core Dublin production of The Trojan Women by Euripides, directed by Rodrigo Rodriguez and Alan King

Best Designer: Set

Maree Kearns : For Nomad in association with Livin’ Dred’s production of Observe the Sons of Ulster Marching Towards the Somme by Frank McGuinness, directed by Padraic McIntyre

Monica Frawley: For The Ark production of The Giant Blue Hand by Marina Carr, directed by Selina Cartmell

Emma Fisher : For The Limerick Hub and Belltable Arts Centre production of Don Juan in Hell , directed by Duncan Molloy and The Revengers Tragedy, directed by Myles Breen

So I had a completely different post in mind and lined up for today, but having been prodded by another of my own extended family (who happens to be a great actress herself – and no, that’s not to score brownie points) to Peter Crawley’s piece on pub theatre in today’s Irish Times, I felt it was worth a response.

The piece, in today’s ‘Ticket, centres around the upstairs at The Plough on Dublin’s Abbey Street and the comeback of pub theatre.

Pub theatre, an age-old phenomenon that reached its zenith here in the 1970s, appeared to wane during prosperity. Now it’s making a comeback. As you read this, a long room full of promise above The Plough on Dublin’s Abbey Street is being prepared for theatrical use (see panel, page 21). This involves draping its cheery walls in black, banishing all natural light from the room, and de-cluttering a small area up front for performance.

It’s a modest space, currently marked only by a new sign that reads “theatre” and bears a small arrow to show you that its managers (the actor and director, Karl Shiels, the writer and director Paul Walker, and the technician Andy Cummins) mean business. When there’s no money in the economy, they decided, you can either drown your sorrows or raise a toast to bare boards and a passion.

Pub theatre holds a special place in the hearts of the acting community in Kilkenny. Whether it was in the back of John Cleere’s on Parliament Street where many a fine production has been staged over the past two decades, to running three plays a night in Kyteler’s on Kieran Street (theatre in there long since gone), or in the back room of any other establishment locally or around the county for that matter, many a local group has opted to “raise a toast to bare boards and a passion”. We fall right into that group as well.

Over the past four years we’ve been lucky with venues having notched up performances in Cleere’s Theatre, The Barn, Rothe House, Watergate Theatre and Set – all that just locally – but only one of those venues is a purpose-built function theatre (for theatre). But for us, it all started in the pub, and Cleere’s Theatre to be precise.

It’s not that far back to 2006 and our first production, Heart Shaped Vinyl. We had considered booking into the Watergate, staging a massive production for our first – given it was a familiar haunting ground to those of us forming the group having spent the best part of ten years treading the Watergate’s boards – but we looked at things in reality. A new group. A new comedy. A new bunch of actors. Hardly a penny between us to get something off the ground. Where better to start than the pub? I had already been using Cleere’s for a year at that point as a live music venue for the Kilkenny Music gigs, and being familiar with the space, and knowing the look we were going for, it seemed ideal.

Don’t let the name fool you. While affectionately known as a theatre and having staged and hosted some great names from the acting and music world down through the years, the theatre in Cleere’s isn’t more than a stone-walled back room space that would hold about 60-70 people at a max when seated. The tiered seating I remember as a child is long gone, replaced by the chairs we used to have in secondary school, the lighting is simple but I would recommend you bring your own gels, and if it’s a busy night, you can expect an interruption from one of the bar staff who have to cross the stage to get into the keg store to change a barrel. The door into the space is by no means soundproofed, but the stage door itself is so thick that you have to listen through a crack in the wall for your cue. The fire doors lead out to another pub’s beer garden, slightly problematic when the pub in that space (in 2006) would leave it’s back doors open and pump horrendous club tunes into the beer garden and subsequently into the theatre space, barely dampened by the temporary curtain hung over the door. The odd night would see glasses dropped or broken midway through a nail-biting monologue delivery, the scraping of chairs on the floor a sound you know you would never get in a furnished theatre space. And going back to Peter Crawley’s article –

“The only way it becomes a theatre every night is by an act of communal will.”

And so it did. We were reaching out to the community, trying to entertain the community. And of course, people coming to the venue knew there wasn’t any tiered seating, knew it might be a bit cold, or a bit hot (depending on whether we’d left the heating fan running), but for two hours a night for each performance of Heart Shaped Vinyl, they came, they drank, they laughed, they told their friends, and the cycle started all over again. As they continued, so did we.

Heart Shaped Vinyl returned for an extended sold-out run in the summer of 2007 before being resurrected one final time in October of the same year as part of the Rockfall Festival, both performances taking to the stage at the back of the pub. Then last year (2009), having played a museum in June, the Watergate in July with Stags and Hens, and knowing a trip was on the cards to Set Theatre for Accidental Death of an Anarchist, we managed to return once again to the pub for four performances of Shakespeare In Bits, again in Cleere’s, again with the pints and this time with a different pub next door pumping the tunes in under the fire exit.

The Bridgebrook Arms took up the ball then in Thomastown this past November, unveiling The Red Door Theatre and three nights of short plays from new group What’s On Tom? John’s verdict on the space being

…a fantastic small scale theatre and the folks there should be commended on the marvellous job they’ve done with it. A long yellow curtain (donated from an old cinema I was told) and a warm lighting scheme helped create a lovely theatre atmosphere. And it’s also got to be pointed out that the seats were very comfy indeed. You’d be surprised at how many theatre’s get that one wrong and do your derriere a complete disservice.

Collectively, the actors within Devious – for the most part – cut their teeth on the Watergate stage. But as Devious Theatre actors, particularly those of us involved in founding the company, ours were cut in the back of the pub and it’s quite possible that a part of our hearts, or at least mine, lays there.

I’d read another article online yesterday that said something like “the safety net will appear when you leap”. That will be my advice for the day to anyone thinking on starting up a theatre company, or group of friends looking to perform a show. Don’t worry (yet) about having to book a big theatre space, or hire professional lighting designers, stage managers, technicians. Don’t worry about costs. If one of your local pubs has a back room, then take the leap. We did it nearly four years ago and we’ve been flying since…

Just before we launched into Can’t Pay? Won’t Pay! with a two footed lunge, we took the time to update our Flickr account with all the unseen photos from our last production in the Dario Fo Season, Accidental Death Of An Anarchist.

The collections comprise a variety of photos from the production, as taken by the strong firm hands of Paddy Dunne and Ken McGuire. There’s rehearsal shots, promo shots, behind the scenes on the poster shoot and onstage shots to name but a few. So if you enjoyed Accidental Death Of An Anarchist, you might well enjoy looking at some different aspects of production. And if you didn’t catch it, there’s a fine sample of what you missed out on. I’ve enclosed a couple of my own favourite snaps here for your perusal but the entire collection can be viewed online over at our Flickr account.

And if you did miss Accidental Death Of An Anarchist and are intent on not missing Can’t Pay? Won’t Pay!, tickets are now onsale and Ken has written up a handy little blog on our new online ticket ordering process and you can read it here.

Our crack team of theatre experts work overtime y’know.