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Multiple award-winning Mark O'Halloran is one of Ireland's most
celebrated writers. Two play spanning 12 years of work come
together in one published edition to coincide with the New York
premiere. CONVERSATIONS AFTER SEX You remind me of someone though.
I mean you're not like him. Not physically like him. Nowhere near.
But there's something there. Your voice or how you hold yourself.
Your hands. In a series of unexpected and unguarded conversations
after anonymous sexual encounters, a woman discovered men with the
same deep need to communicate and connect in the lonely, atomised
city. 'A portrayal of grief that is unforgettable in its rawness' -
The Guardian TRADE "This is just this. It isn't real. It's money."
In a guesthouse in Dublin's north inner city, a vulnerable and
confused young rent-boy sits with a middle-aged client. It's not
the first time they've met but today the older man has blood on his
shirt. A lot has happened since they last met. 'It closes around
your heart like a fist' - The Irish Times
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Lippy (Paperback)
Bush Moukarzel, Mark O'Halloran, Dead Centre
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R367
Discovery Miles 3 670
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Ships in 10 - 15 working days
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Winner of a Scotsman Fringe First Award 2014 In 2000 in Leixlip,
co. Kildare, an aunt and 3 sisters boarded themselves into their
home and entered into a suicide pact that lasted 40 days. We
weren't there. We don't know what they said. This is not their
story. Winner of the Irish Times Theatre Award for Best Production
(2013), and inspired by a real-life event involving the suicide
pact of four women in a small town outside Dublin, Lippy is a play
about authorship and the role of the writer.
HEROIN by Grace Dyas, Trade by Mark O'Halloran, The Art of Swimming
by Lynda Radley, Pineapple by Phillip McMahon, I ? Alice ? I by Amy
Conroy, The Big Deal edited by Una McKevitt, Oedipus Loves You by
Simon Doyle & Gavin Quinn, The Year of Magical Wanking by Neil
Watkins Edited and introduced by Thomas Conway This anthology
comprises eight new plays by Irish playwrights premiered between
the years 2006 and 2011. These playwrights ride, however, in no
slipstream of the identifiably Irish play. Here, the enterprise of
playwriting itself is being re-imagined. Here, above all else, is a
commitment to becoming in the theatre. For all that, each play is
concerned with what is unfinished business in Ireland. How
astonishing, then, that these plays should revolve for the most
part around identity and, in particular, sexual identity. How
identity comes into play, how we open up the field of play, how we
raise into collective experience the exercise of that play - the
urgency in the playwriting would appear to lie precisely here. We
can read from the historical moment - from a narrative emphasizing
an economic bubble and its hangover - into these plays. Or we can
take these playwrights at their word and observe lives lived at the
contour of identities in the making. It is for us as readers, just
as we have as theatre-goers - frequently scandalized, enthralled,
shamed, appalled, unburdened, tickled pink - to decide.
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