{"id":32666,"date":"2026-06-13T20:19:00","date_gmt":"2026-06-14T00:19:00","guid":{"rendered":"https:\/\/irishexaminerusa.com\/wp\/?p=32666"},"modified":"2026-06-15T20:24:02","modified_gmt":"2026-06-16T00:24:02","slug":"origin-theatre-companys-new-co-directors-labhaoise-magee-and-aidan-cleary-speak-out-about-the-2026-season-of-origin-irish-theatre-festival","status":"publish","type":"post","link":"http:\/\/irishexaminerusa.com\/wp\/?p=32666","title":{"rendered":"Origin Theatre Company\u2019s New Co-Directors Labhaoise Magee and Aidan Cleary Speak Out About The 2026 Season of Origin Irish Theatre Festival"},"content":{"rendered":"\n
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Exclusive Q&A by Brad Balfour, Arts Editor
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Since its founding in 2002, the Origin Theater Company\u00a0has introduced to US audiences works by over 300 playwrights from such countries as the Netherlands, Sweden, Romania, Macedonia, Norway, Italy, Ireland and the United Kingdom. Along the way, Origin launched The Origin Irish Theatre Festival (formerly Origin 1st Irish). This year\u2019s edition (the 18th) runs from Tuesday, June 16th to Sunday, July 5th, 2026 with performance held in various venues through the city and surrounding environs.
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In addition to the many plays being presented by young Irish playwrights, Origin will be staging an Off-Broadway revival of Enda Walsh\u2019s classic \u201cMisterman\u201d as part of the Festival in New York. Directed by Labhaoise Magee, and starring Daniel Marconi (from the Broadway productions of \u201cSweeney Todd\u201d and “Mary Poppins”), Walsh\u2019s virtuosic study of one man’s descent into religious mania in small-town Ireland begins on Tuesday, June 23. The full festival opens on Thursday, June 25th, and runs through Sunday, July 5th at Theater Row, 410 West 42nd Street.
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First produced at the Granary Theatre in Cork, “Misterman\u201d received its New York premiere in 2002 in a production directed David DeBeck and starring George C. Heslin (it was Origin\u2019s first production). The play\u2019s celebrated revival in 2011 featuring Cillian Murphy, staged at the National Theatre in London before moving to St. Ann\u2019s Warehouse in New York City.\u00a0
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Walsh will attend Origin\u2019s 2026 Benefit Gala on Monday June 29th, at 7pm, when he will be honored with the title of Origin\u2019s Ard Seancha\u00ed (Irish for \u201cChief Storyteller\u201d). The event takes place at the American Irish Historical Society (991 Fifth Avenue).\u00a0
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The Festival kicks off on Tuesday, June 16th with a unique immersive concert, the \u201cEnda Walsh Mixtape,\u201d celebrating the music that inspired Walsh\u2019s many plays and films, as well as tunes from his musicals \u201cOnce,\u201d “Sing Street,” and “Lazarus” (Walsh’s musical collaboration with David Bowie). Featuring Max Bartos and the Motherfolkers, they will appear at 7pm, in Paddy Reilly\u2019s Music Bar (519 2nd Avenue).<\/p>\n\n\n\n

“Disco Pigs,\u201d the cult classic that had its New York premiere with Origin in 2005, will have a one-night staged reading at Theatre Row, 410 West 42nd Street (Sun Jun 28)
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The festival\u2019s lineup also includes thes following four one-night-only staged readings of these notable Walsh plays:<\/p>\n\n\n\n

\u201cMedicine,\u201d at Theatre Row, 410 West 42nd Street (Thu Jun 18)
\u201cThe Twits,\u201d at An Beal Bocht, 445 238th Street, The Bronx (Sun Jun 21 at 2pm)
“The Same,” at the NY Irish Center, 1040 Jackson Avenue, Long Island City (Thu Jul 2).
Every performance starts at 7pm except \u201cThe Twits.\u201d<\/p>\n\n\n\n

All of this is happening under the aegis of Origin\u2019s new Artistic Director Labhaoise Magee. She is ushering in an exciting new era for the company as it continues its commitment to bold international storytelling and new theatrical voices.
 
Born and raised in Derry, Northern Ireland, Magee moved to New York in 2014 to attend Sarah Lawrence College. Her expansive career spans New York, the UK, and Europe, rooted in collaboration, production, and artist development. Across continents, Magee\u2019s work reflects a sustained dedication to new writing and cross-cultural exchange.
 
In 2020, Magee co-founded Fair Play Productions, a cross-Atlantic management and production company supporting artists and projects working between the U.S. and Europe. Says the 30-something, \u201cOrigin Theatre Company has long been a home for international voices and ambitious storytelling. I\u2019m honored to step into this role and excited to build on its legacy while creating space for stories that resonate across borders and generations.\u201d
 
Joining her in the newly created position of Executive Director is Aidan Cleary, a producer and attorney who has worked on projects across the US, the UK, and the EU. His theatre work is based on developing a democratic culture on and off stage. Cleary practices law in the Entertainment Group of The Bartos Group LLC and has previously managed labor relations at The Metropolitan Opera. 
 
In 2020, Cleary co-founded Fair Play Productions. Away from the theater, he co-founded Team Trans Ice Hockey and supports the San Jose Sharks and the Belfast Giants. A graduate of Brooklyn Law School and Sarah Lawrence College, Cleary says, \u201cAs America experiences a rise in political instability and violence, I believe we can find the antidote in Irish stories, culture, and humor. I couldn\u2019t be more excited to share the Ireland I know and love with New York alongside Labhaoise.\u201d
 
2027 will mark Origin\u2019s 25th anniversary.
 
The following exclusive Q&A was recently conducted over Zoom with both Magee and Cleary.
 
Q: You have two very different careers. What in your career drew you to theater in general? Has it always been a part of your life, or has it been a part of a transition? What in your career led you to Origin? 
 
Labhaoise Magee: I\u2019ve always been involved in theater in some way. My first professional theater experience was at 14 years old as an actor at the Playhouse in Derry. I worked on a piece called \u201cI Once Knew a Girl\u201d through a company that was helmed by American director Teya Sepinuck, who was there working on a sort of autobiographical, or not autobiographical [play], but was working on the stories of women who had been affected by the Troubles in Derry. She was working with them to be able to tell their stories and experiences of that time. I was portraying those women in the actual age that they were at the time that we were talking about.
 
That gave me a taste of what professional theater could be at a time when I wasn’t necessarily aware of it as a career. That was really interesting. From there, I decided to go to school at Sarah Lawrence College.  
 
Q: So you two knew each other from there? 
 
Labhaoise Magee: That’s how we met. I didn’t plan to study theater. I studied literature and ended up doing film. Due to the crossover of needing actors, I got involved with theater people and then returned back to it, which was really exciting. It wasn’t until I really graduated and began working as a production assistant at the Classical Theater of Harlem \u2014 and then into stage management \u2014 that I really got a taste of what professional theater in NYC is like.
 
From there, project by project \u2014 many involving the Classical Theater of Harlem’s summer shows \u2014 I got a real taste of production. Concurrently, I was doing a lot of acting gigs. I was going between stage management and acting because they both fall under the same union, Actors’ Equity Association. I did my last acting gig in 2022, and then started solely focusing on production. When Aiden and I were at Sarah Lawrence, one of the last things we did before graduating was that he directed and I assisted on a production of Rodgers and Hammerstein’s \u201cCarousel,\u201d a mammoth two-and-a-half-hour musical, in a black box theater.
 
The challenge, from both a directing and producing standpoint, was significant. It reminded me of how much there is a to do in theater beyond being on stage or even backstage. So, I\u2019m somebody very excited about producing and general management and directing.
 
That was my origin. George Hesselin approached us in mid-2025 and explained that Origin was going through a leadership change. At first I didn’t realize that he was seeing what we were like; we didn’t know each other super well.
 
We knew each other in a more social way, having run into each other at so many events in the Irish theater community. At first I was like, trying to give more consulting advice. By the time we met with George, Aiden and I had been running our commercial management and production company, Fair Play Productions, for about five years.
 
We were thinking he might be asking for advice on how the company could pivot. Eventually, the conversation became, \u201cWould you like to do this?\u201d Which was really insane and humbling given Origin’s 24-year history and its impact on our community. We were very humbled by that and decided, \u201cYeah, we would like to give it a go\u201d and focused on delivering the annual Irish Theater Festival this year.
 
Q: Aiden, you two complement each other, but have different backgrounds. Talk about how that informs you and adds to the interplay between you two? 
 
Aidan Cleary: I similarly have spent most of my life in theater in some form. My mother was a stage manager and she brought me into it. I always loved musicals, which were my first love. And, similar to Labhaoise, as I was coming up, I started in professional theater when I was 16. I swept the floors in theaters and worked my way up to being a swing and then on stage full time. B ut I hated being on stage. So I eventually moved to directing and I loved the storytelling. I love the role that theater plays in society.
 
To me, it’s a democratic institution. It teaches us how to live a democratic life in a way that\u2019s entertaining and fun when it’s done well. And I was working on an off-Broadway show that was a huge flop. We fired our general manager and brought in someone else, and he was fantastic.
 
He sat down with me one day during tech rehearsals and walked me through the budget. I started asking him questions about \u201cWhy are we doing this? Why did we do that? And what’s the cause? What’s the ramification? What’s the consequence?\u201d That led me into general management. I was working in general management when one of the people I was working with said, \u201cHey, you might want to look into being a producer.\u201d
 
I am not from a wealthy family. I had always thought that producers funded shows themselves. So I said, \u201cWell, that’s definitely not going to be me.\u201d
 
They explained how it actually works and the many different kinds of producers. There are lots of different models for producers, what they look like for both models and general managers. For me, I felt like having gone through school in a few years in the industry. I then needed to go and get a law degree and that that would be my next step.
 
A lot of what I do as a lawyer, and was trained to do in law school, is to be extremely anxious. You are looking out one month, one year, 10 years \u2013\u2013 what’s every problem that can possibly come up, and what do we do now to prevent the worst from happening? That’s why you’ll see many, many producers who are also attorneys and have been. One of my personal favorites is, of course, Oscar Hammerstein II who went to Columbia Law School.
 
Q: Oh, I didn’t know that. 
 
Aidan Cleary: He revolutionized producing. He\u2019s mostly noted for his writing but he revolutionized producing. So I was going through that process and worked in Broadway general management. As I was going through law school, I wasn’t doing clerkships with judges, I was working on Broadway. I was working with Labhaoise on productions in and around New York, in Ireland and the EU. We were really working on theater. That was my priority as I was going through law school.
 
I went to a wonderful law school called Brooklyn Law. It was very experiential there, not theoretical. I was building up my coursework that was about my leaving with an understanding of how things work and how to apply that to Broadway and off-Broadway.
 
When I left law school, my first work was at the Metropolitan Opera as the manager of labor relations. We had about 3,000 union employees across, I think, 15 different unions. It’s the largest performing arts organization in America. I was working there while an enormous number of collective bargaining agreements were coming up.
 
I was negotiating bargaining agreements. I was doing the whole labor process and learning as much as I could from that about fundraising in my spare time. Because they have an incredible development program, they raise an insane amount of money.
 
If you check out their IRS Form 990s, it’s truly incredible. Although they struggle financially now, their fundraising is the most well-oiled machine I’ve ever seen. So I\u2019ve come into Origin and being part of this \u2013\u2013 working with Labhaoise \u2013\u2013 as Origin’s first executive director.
 
I do so part-time while I practice entertainment law full-time. I\u2019m working to provide us with infrastructure to set up Origin for a successful production [company] today. But really what I’m looking to do is to create a truly stable Origin long-term. How do we build out a development program? How do we build relationships with donors? How do we instill a certain philosophy of catering to people? 
 
Presenting great artwork through what Labhaoise\u2019s doing and then making sure that it’s finding the people who want that, I\u2019m making sure that we find our audiences and donors who want to be part of our community and want to be part of what we’re doing. Also making sure that we’re having a positive impact on New York. I think, ultimately, what we are is an off-Broadway theater company.
 
We have a duty to New York to push our industry forward. And it’s my job to make sure that the business is aligned with the creative in that way. That’s always what a producer’s job is and that’s what excites me.
 
Q: In light of that, one thing that hasn’t been done, at least as far as I can tell, is for Origin to take a play that you’ve produced that’s in the festival and then travel it or produce it in other places. It becomes part of your repertoire, if you want to call it that. So you love a show and say, “Why aren’t we producing it in Boston and Chicago and other places?” Am I assuming that that’s part of your role? 
 
Aidan Cleary: Yeah. That\u2019s part of the plans we haven’t announced publicly yet. What we’re really looking to do is build a business model, right? Origin has almost every single nonprofit off-Broadway. Like most of us, when I went through theater school, we don’t get business training. We’re not taught here’s how things go.
 
We’re not taught to look at different companies and to look for different options of how to sustain your company. Yeah, we\u2019re looking at that. We\u2019re looking heavily at Field Day Theater Company as a comparable company that inspires us in both a creative and a business model.
 
One of the things that we’re looking at, because we’re a new play company, is to expand into publishing \u2014 to be able to publish and license the plays that we produce and develop. And, you’re exactly right, to tour them. There’s an enormous Irish-American community.
 
What is it? I think like 100 million or 30 million Americans. They think it’s 30 million Americans who identify with their Irish roots, but when you take it globally, it’s huge. Like you said, 100 million.
 
Yeah, it’s massive, right? And so not only, I think on the one hand, for some business people, they go, \u201cOh, that’s a huge audience.\u201d But I think to us, it\u2019s a huge community. And one thing that we definitely want to be sure of is that, as generations progress, people still see themselves as part of the Irish diaspora.
 
And through theater, we’re able to build a culture and talk about what does it mean? I’m obviously very American, you can hear my California accent, I’m sure. But one of the things as I was coming of age[is] that I spent a lot of time thinking about what does it mean to be Irish American? I think one of the great gifts of my life is realizing that it means whatever we choose for it to mean. For me, it’s a connection to contemporary Ireland. I like spending time in the North. I love spending time around those people.I love being in that culture, the culture of peace process. I love what’s happened there.
 
I see it as a great model for America to deal with its violence problems. To me, it’s about bringing that here, bringing that attitude and that sense of humor, which is my favorite thing about Labhaoise. It’s about having the craic.
 
Q: Labhaoise, you’re a good distinguished Northern Irish person.
 
Labhaoise: Yeah, it’s important to acknowledge, though, that you can’t just uplift a peace process and place it into another location. But what we can do is use the tools and use the efforts of, and our tools are theater making, really. I think about that constantly at this juncture in our American democracy. What do we do next with what we have been given or what we are experiencing? Like Aidan, I also did not receive a business arts education. I received an arts education from practitioners, from actors or the people who taught me what I know, and who have been at the head of the organizations that I respect the most.
 
They’ve been working in New York City for decades, experiencing and surviving a great deal. And you know that anytime you’re talking to somebody who’s been around in New York since the ’70s or the ’60s, they must know a thing or two about surviving in a city like this. But also it\u2019s about progressing their industry and democracy, as Aidan said. So I am excited and anxious. But I\u2019m equally waiting to see what we do with what we have in our toolkit and how that moves things forward in the US. Right now, that can feel very hopeless for people. More Americans moved to Ireland this year than Irish people moved to America. 
 
Q: Really? I didn’t know that statistic. Wow.
 
Labhaoise Magee: Yeah, it was recently published. For me, as someone who grew up dreaming of coming to New York and not knowing a single American who lived near me, I find that insane. Of course, a global movement is on the rise, regardless of why you’re moving. But I don’t want people here to feel like they have to escape in order to have a better life or to connect to values that are more aligned with democracy.
 
I think that’s an incredibly alarming statistic. If that maybe is an assumption on my part is the reason why they’re moving. As theater makers, we can really make an effort, in our own way, to make [America] a more desirable place, so people recognize and love the place they\u2019re from again.<\/p>\n\n\n\n

When I left Derry, I left not really loving it. I didn’t really love the sort of impact, the pain of the history of where I was from. I was looking for an escape, for opportunities and distraction. It’s only now as an adult, when I look back \u2013\u2013 especially when working on Irish plays or working with Irish people \u2013\u2013 that I feel sad for my 17-year-old self who felt like the only option was to leave. \u2028\u2028Part of being at Origin is for me, about pouring back into that version of myself as an Irish woman, reaching out and connecting to those of us who did the same thing at 17. Many of us are all over the world and still feel, as young Irish people still feel, that they had to leave in order to have opportunities. <\/p>\n\n\n\n

Q: You said there’s a lot of opportunity. You’re the interconnection.
 
Labhaoise Magee: When we were sitting and talking to George about coming on board, I felt like, I couldn’t believe that he was talking to us about that. I was realizing, well, we\u2019ve come a really long way since we met each other at Sarah Lawrence when we were sort of theorists, as you are at that age, about what the world could be like. Now we’re given this opportunity and we’re surrounded by a team of people and audiences who have followed Origin for decades.
 
People are asking us what the next 25 years look like. I’m motivated by that in a lot of ways. Maybe a few years ago when I stopped acting, I was a bit lost and a bit confused about who I was and what I wanted to do and what I would feel fulfilled by. What I was actually able to give.
 
Sometimes as an actor, it feels like what you can give is the role \u2013\u2013 the character that’s been predetermined \u2013\u2013 whose circumstances have been predetermined for you. Being a producer feels far more like you are shaping something that’s larger than yourself, that’s larger than the play and is larger than the character. Ultimately it\u2019s the work of connectivity and truth. I’m really excited that, because we work on new plays, we’re constantly working with and confronting new ideas and new points of view that are really important. They should be given a chance to be heard in front of New York audiences and beyond.
 
When you’re a producer, of course, all the actor has to do is look at the words and then figure out how to interpret them through whatever their vision is of interpretation. [But as a producer,] you have to see it in a much more global way \u2013\u2013 since your real kickoff event is this festival \u2013\u2013 you have to see not only each play in a global way, but you have to see the whole thing in a global way. That\u2019s an awesome responsibility where you\u2019ve spent the whole year before getting ready for this. You’re going right in, feet first, and that must be intimidating on one level. 
 
Q: Yeah, yeah, it really is. Actors have a very tough job. It’s often a very isolating job.
 
Labhaoise Magee: People think that it’s very social and that you’re connecting to your audiences all the time or you’re connecting to your fellow actors on stage.But depending on what role you’re playing and what it requires of you, it can become very insular work, At least, that\u2019s what my experience has felt like with some of the projects I’ve done in the past. And what we get to do, while sort of looking at the larger picture, it feels like \u2026 an actor might look at one carriage of the entire train and their job is to perfect and hone in and only really understand things to from their character’s point of view. And I feel like we’re looking at the entire freight train and where it’s headed and where it could go off the rails if we don’t do it right.
 
And that’s fantastic and exciting. It requires a lot of listening. We have tried \u2013\u2013 since we officially came into these roles in January of this year \u2013\u2013 we’ve tried to spend the last five months listening as much as possible to those around us. Not making drastic changes to anything, just sort of absorbing the way that Origin functions and trying to see like, what’s working here, what’s working there. And also like, what can be improved upon so that we can survive the next 25 years of the journey?
 
We\u2019re not under any assumption that people who’ve been at a job for five months know what all of that looks like just yet. But it’s been really fascinating to just be part of and to come in underneath the umbrella of something that has survived 24 years in New York City, That’s a very tough thing to do regardless of what industry you’re in. So yeah, we feel that pressure and are excited by the challenge of it.
 
Q: You have the 25th anniversary coming up next year, right? That’s a whole new step to add into the process. This festival has the opportunity to incorporate other media, such as music performances and film. How far do you want to go within the festival, or do you want to get outside of it? 
 
Labhaoise Magee: That choice was really informed by the artists we’re celebrating, like Enda Walsh. He is the most talented, multi-hyphenated artist who has written plays, is a fantastic screenwriter, has written books of Tony Award-winning musicals, and was hand-selected by David Bowie to write his musical about the man who fell to earth, \u201cLazarus.\u201d Enda has also written operas and so many other forms. So we felt that strongly we could not just produce his theater exclusively.
 
You can even tell by reading his plays how much he is influenced by music and by sound. He has talked about that in interviews in the past. We felt that to fully celebrate him as an artist, we would have to celebrate his music and all the different ways that he has impacted arts, which is very challenging to do.
 
Q: In scheduling yourself for the festival this year, what have you told the world about? What can you tell me now about what you will be telling the world, so I can be the first to share it?
 
Aidan Cleary: Let’s see here. I’m trying to think what we still have to announce, because we’ve already announced that Daniel Marconi will be the lead in “Misterman.\u201d .  
 
Labhaoise Magee: For the most part, it’s casting for the readings that we’re doing. So we’re doing four one-night-only stage readings of Enda’s plays: “Medicine,” “Disco Pigs,” “The Same” and “The Twits.” All of that casting is to be announced, and we’re very excited about some of those artists.
 
We also have the kickoff concert, which we have announced our Music Director, Max Bartos, and the house band is his band, The Mother Folkers. 
 
Aidan Cleary: And Max was in Enda’s production of “Sing Street” off-Broadway. So, we’re very excited to have him sing some songs from “Sing Street.” We’ll be excited to share some of the other cast members at the concert. I’m planning to have some other Broadway talent come through and some other very, very talented folks.
 
One of whom we think is going to join us is actually writing a musical with us right now for Origin. It may be the first musical that we will produce for Origin, which would be an Irish country musical. 
 
Q: Who is it? 
 
Aidan Cleary: We’re not announcing anything right now, but it’s country music superstar Dale Hollow, who is lovely and will be there. And then I’m trying to think, we will have casting for those. We’re extremely excited to see Daniel Marconi in “Misterman.\u201d <\/p>\n\n\n\n

Q: Do you want to talk a bit about Daniel’s background and your relationship with him and seeing his work over the years? 
 
Labhaoise Magee: Daniel and I met at the Irish Repertory Theater where I, at the time, was playing Pump Girl in “Pump Girl” by Abbie Spallen. That would have been 2019.
 
He and I met in the crisscross of that experience. I don’t think he was in a show at the time, but he had come to see it. I was aware of him, not because we had auditioned together, but just because of that community. He was so sweet. He came up to me and said how much he adores that play, “Pump Girl.” And from there, it was like, “Oh, this guy’s really sweet and lovely.” Then he went on to perform in several fantastic productions at the Irish Rep, as well as on Broadway.
 
Notably, he came off of doing Sweeney Todd, the revival of Sweeney Todd recently. So he has not only a fantastic actor, but he’s an incredible singer as well, which as a teaser, you know, \u201cMr. Man\u201d does have like an element of music, which is consistent with Enda’s other work. And it is so lovely to have an actor who can sing like Daniel for this particular moment in the play.
 
This is our first chance ever like to work together. We’ve never performed as actors together. I had an inkling when we knew we would revive “MisterMan,” which Origin originally produced in 2002 \u2014 Enda’s American debut, if you can believe that.
 
Q: I saw an Enda Walsh production over at the Irish Rep.It was “Disco Pigs.” Yeah. I saw that same production.
 
Labhaoise Magee: It was really fantastic. “MisterMan” originally premiered at Origin in 2002. It was our inaugural production that kicked off. It launched the company really. that is a huge part of why we’re celebrating Enda this year. Because he’s our inaugural playwright, we really have him to thank for so much of what came after him. He also premiered “Disco Pigs” in 2008 at Origin.
 
Aidan Cleary: We’re excited to celebrate all of those connections, too. I was just going to say the last thing about Daniel\u2026 The last time that this role was done in New York, it was done at St. Anne’s Warehouse by Cillian Murphy.
 
Q: I was going to say Cillian Murphy has a strong connection to Enda as well. You’re reading my mind. 
 
Aidan Cleary: Yeah, it’s a huge, huge thing to follow up on \u2014 Cillian Murphy in New York in a solo show. What I’m perhaps most excited about for this festival is for everyone in the audience to see Daniel and find out that he\u2019s perfectly suited to do it. Marconi is the perfect follow-up to Cillian Murphy. I have absolutely no doubt that when we look back 20 years from now, we’re going to find that Daniel Marconi is every much a star as Cillian Murphy is today. He’s such an incredible talent. <\/p>\n\n\n\n

Q: We forget that Cillian Murphy had his own rock band. We don’t think about the musical side of Cillian Murphy now.
 
Labhaoise Magee: It was actually Daniel, because Daniel’s also going to perform at our concert on the 16th of June. And it was him that when we were approaching him about it, I was like, \u201cOh, do you want to be part of the concert as well?\u201d And he’s like, \u201dOf course! Can I sing the song that Cillian Murphy wrote that is heard at the end of the credits in disco, during the credits of the movie “Disco Pigs?”I was like, what? I didn’t know that he wrote music and never mind that his music was featured in \u201cDisco Pigs\u201d. I believe the plan is that Daniel will perform a song that Cillian Murphy wrote. It feels very full circle. Yeah, we’re delighted by it. 
 
Aidan Cleary: I think on a larger scale, our big goal with Origin, for all the Irish artists coming over for the diaspora here, is that we’re a launching pad for them. Whether as a playwright or an actor, a director, or a designer, we’re here to see them, their talent, and give them the time, space, and development they need to launch them. Daniel’s already been on Broadway, but I have no doubt that he’s going to become a star. He’s just so extremely talented.<\/p>\n

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