12th Annual Origin 1st Irish Theatre Festival
Wed., Jan. 8 – Mon. Feb. 3, 2020
Various Locations
Launching six productions in competition and 11 special events in city venues, the 12th Origin 1st Irish Theatre Festival (running from January 7th to February 3rd, 2020) again present a month of unique theatrical experiences. This year, the Origin Theatre Company brings in shows and special projects from Dublin, Belfast, Wexford, Galway, Limerick, Queens and Manhattan which can be seen in such venues as 59E59 Theaters, Irish Rep’s two theaters, The American Irish Historical Society, Scandinavia House, The NY Irish Center, A.R.T. New York, The Secret Theatre, The National Arts Club, The Cutting Room, Symphony Space, The Alchemical Studios, The Irish Consulate, and NYU’s Glucksman Ireland House.
Since its 2007 founding, the world’s only festival showcasing contemporary Irish playwrights has imported both acclaimed productions and served as a launch-pad for homegrown projects developed collaboratively by New York based artists. Recognized for its focused size, and emphasis on audience engagement through plays, parties, panels and workshops, Origin 1st Irish has been called, “an important event that offers New York theatergoers the chance to see fascinating new work” by The NY Times.
Under founder George C. Heslin’s artistic direction, Origin Theatre Company produces American premieres of impactful plays by contemporary writers from the EU’s 28 member countries. Now in its 17th season, Origin also produces the “European Month of Culture NYC”— in partnership with the Delegation of the European Union — every May.
Having produced all of Origin’s work to date, Heslin has directed over 80 productions in such locations as 59E59 Theaters, The Sheen Center, The West End Theatre, The NY Public Library for the Performing Arts, at Lincoln Center, Triad Theatre, Boston Center for the Arts, The Irish Repertory Theatre, The Theatre Center – Brussels, Lehman Stages, Fishamble – Dublin, NYIC, The Gene Frankel Theatre, The American Academy of Dramatic Arts – NYC, and many others.
As an actor, this Limerick native has been in the national touring company of the hit Broadway show “Stones in His Pockets” and such Off-Broadway productions as “Juno and The Paycock” at The Roundabout, “The Blowin of Baile Gall,” and “The Colleen Bawn” at Irish Repertory Theatre (wich got a Drama Desk nomination). Regionally, he has appeared at The Kennedy Center, Old Globe San Diego, Pittsburgh Public, Studio Arena Buffalo, Virginia Stage Company, Penguin Rep, The Caldwell Theatre Florida, and Syracuse Stage, to name a few. In Ireland he’s performed with The Abbey (Ireland’s National Theatre), The Gate, Druid Theatre, The Lyric, Passion Machine, Project Arts Center, Island Theatre, Graffiti, Grand Opera House and The Olympia Theatre. His West End London credits include “Philadelphia Here I Come” and “Elegies for Angels, Punks and Raging Queens.”
A graduate of the Samuel Beckett Centre, Trinity College, Dublin, The Abbey Theatre Dublin Directors Program, Heslin also attended The HB Studio in New York, where he studied with the legendary Uta Hagen. For 12 years, he’s been a member of the associate faculty at The American Academy of Dramatic Arts and spent three years as adjunct director at Nassau College.
For all his efforts, Heslin has won The Irish Examiner/New York Man of The Year Award, The American Dance Federation Cultural Leader Award, and The New York City Council Award for dedication to theater from Council Speaker Christine Quinn. This 40-something has also been been given The Global 100 Award from Irish America Magazine and The CUNY Award of Cultural Excellence from City University New York. In 2011, he was invited to the White House to meet President Obama.
Q: What is the greatest difficulty you have in bring Irish content to the States?
GH: When selecting productions for 1st Irish, I try to pick work that offers new perspectives of Ireland. We have had huge positive social change in Ireland in recent times and the work of our playwrights reflect this. I have to discover plays that reflect these stories while also offering New York audiences quality writing supported by fine acting and directing.
Q: What has been your greatest triumphs in doing this festival?
GH: Creating work for nearly 2,000 actors, directors and designers in 12 years. The festival unites and connects the NY Irish cultural community with visiting companies from Ireland, a cultural bridge like we have never seen before. The connections made at 1st Irish have changed lives, careers, offered touring opportunities both in the US and Ireland, secured new funding opportunities for companies and giving playwrights there first reviews in America which have led to major agents and deals.
Q: Who or what plays or companies would you bring here if you had an open budget?
GH: More so than companies, I wish I had a major venue in NY with many stages. Once I had space, the sky would be the limit. Then they would be all welcome.
Q: Do you feel audiences get it or is there still a lot of cultural translation needed?
GH: NY audiences are so aware and open to good work. Once the quality is good and the storytelling is intriguing audiences get it. You have to teach them something, they want to leave the theater renewed or inspired.
Q: Obviously exposing audiences to art from elsewhere is very important– what do you want audiences to understand by doing so?
GH: Today, more than ever, it is so important that we share stories from across borders, locally, nationally and internationally. That the theater continues to offer a safe space for conversation, tolerance and openness. You don’t have to move in with the characters on stage, just listen to their view points for 90 minutes. You may be surprised what you learn about yourself.
Q: How has putting on these festivals affected you personally?
GH: It has connected me with thousands of artists and theater makers globally. It has broadened my life like I never imagined and opened up my world to so many inspiring brilliant people. I get to engage with such diverse worlds as the arts ,media, corporate, political, diplomatic and education. Each person has taught me so much about life and how to do it a bit better each day.
Being a night owl, I always remember when I was age eight or nine looking out the window of my bedroom in Limerick, Ireland, the rain pouring down thinking to myself, “Dear holy God, I want to live in a city where people don’t go to bed on a Tuesday night.” I think I found that in NY, running a festival you never go to bed.
For a list of festival events go to: www.origintheatre.org