During the COVID-19 crisis Acting for Others have raised over £1.7m to support theatre workers affected by the pandemic. Donate to Theatre MAD nowĪcting for Others provides financial and emotional support to all theatre workers in times of need through the 14 member charities. A host of fundraising events, including Bucket Collections, Late Night Cabarets, West End Eurovision, West End Bares and A West End Christmas continue to raise funds for projects both in the UK and Sub-Saharan Africa. ![]() Their UK and International grant-making strategy is based on five criteria that raise awareness, educate, and provide care and support for the most vulnerable in society. 93 After tying the rope with the extracted staple to the fugitive cow’s neck, Peig wakes the master, feigns nave innocence, and informs him that a cow is loose out back. The Make A Difference Trust fights HIV & AIDS one stage at a time. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids. That five quid you spend on a large glass of House White? They can save someone’s life with that. They give grants to set up small, sustainable businesses that bring financial independence and security. Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. Well worth a watch for anyone interested in any of these subjects or just looking to be told a fascinating story by some accomplished artists. At times it drags, but only for brief moments before the skill of the performers bring us back in. The piece is an enthralling journey through Peig’s life, exploring Irish folklore, storytelling tradition, tribalism and cultural homogenisation. Lewis occasionally loses the truthfulness of the storytelling, but is always quick to regain the initiative and bring us back in. She works well with Mhurchú to summon up the impression of Peig’s life and the life of the Blasket Islanders among whom she lived. Louise Lewis plays the teller of Peig’s story and sets the historical context with the aid of the entrancing bank of old television sets and projector. The story brings out the strong side of this character without overdoing it – a positive feminist strand coming through the piece without resorting to the simplicity of a plate-fed moral. Peig Sayers has been a scapegoat for some peoples hatred of a school subject, of a living language, of Irish speakers or a combination of all three. The moments of Gaelic interstrewn with the yarn-spinning only add to the storytelling and atmosphere. We find ourselves more or less on Peig’s side throughout the story due to Mhurchú’s charismatic performance. She is completely believable in the role, invoking this earthy, visceral portrayal of Peig with consistently strong acting. It skilfully uses multimedia in the form of period-appropriate screens, radios and projections.Īn enthralling journey through Peig’s life, exploring Irish folklore, storytelling tradition, tribalism and cultural homogenisation.Ĭaitríona Ní Mhurchú plays Peig as well as having conceived this piece. ' In his 986 1935 autobiography Dramatis Personae, W.B.
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