In The Good House of Happiness, we invite you to meet an actor, a pop singer and a scholar, from China, and two Mongolian accountants. They have come together to make a modern version of Brecht’s parable play, The Good Person of Setzuan first performed by German actors playing Chinese people.
Brecht’s original play is a parable set in China between World War I and World War II. The Good House of Happiness is set in Dublin in 2017 as Molly Xiu, a budding actor, receives a challenge from the gods. Is it possible for her to do good in the modern world? They favour her with a gift of money, so she opens a new restaurant. But she is not a tough nosed business person, and everyone takes advantage of her, so she is driven to invent a male alter ego, Michael Xun, to be the ruthless dragon that makes the restaurant a success. She is forced to assume this role so often that, as Michael Xun, she is accused of murdering Molly Xiu.
Is the world a lost cause or does the possibility of goodness still exist? What in society might we change to invent a happy ending to this story? Through conversation, comedy, song and maybe some Brecht our five participants will search for answers within their own hearts.
Pan Pan Theatre is funded through the Arts Council’s Regularly Funded Organisations funding programme.
Cast and Creative Team
Text by Eugene O’Brien and Gavin Quinn
Directed and Designed by AediÌn Cosgrove and Gavin Quinn Music by Si Schroeder
Performed by Saruul Altantuya, Andrew Bennett, Zolzaya Enkhtuya, Xier Luo, Zheyu Wei, Ashley Xie
Information and Tickets
Venue: Smock Alley Theatre, Main Space
Previews: Oct 11 & 12, 7.30pm
Dates: Oct 13, 7.30pm Oct 14, 2.30pm & 7.30pm Oct 15, 4.30pm
Tickets: €15 – €25
Duration: Approx. 70 mins. No interval.
Talking Theatre: Oct 14, post-show (2.30pm). With members of the company.
We’re excited to announce that our award winning production, The Rehearsal, Playing the Dane, has been invited to the prestigious Wuzhen Theatre Festival in China in October.
There’s something strange in the neighbourhood of contemporary Denmark. Who are you going to call? That is the question. In Pan Pan’s purgatorial presentation of Shakespeare’s classic tragedy, you the audience are faced with a choice: who is going to be, or not to be, Hamlet? Actors compete to play the title role but as we enter the graveyard world of this icon of individualism can anyone escape playing the Dane? Aren’t we all the main part?
Highly innovative and visually breathtaking, this is an audacious and irreverent riff on Hamlet that does not so much update or deconstruct the play as explode it.
Winner of Best Production and Best Set Design, Irish Times Theatre Awards 2010
And yet in this first act, a precisely choreographed combination of borrowed erudition and
self-generated mayhem (that darling, ungovernable dog) turns Quinn and company’s tribute into something freshly full of grief.
Helen Shaw, Time Out New York
All up, Playing the Dane, is smart and refreshing, imaginative and authoritative. A real delight.
Magnificently stimulating and thought-provoking theatre in an equally devastating setting. Not to be missed.
Emer O’Kelly, Sunday Independent
A serious, searching work… affecting, provocative and stimulating.
Colin Murphy, Irish Independent
Its own academic analysis, an audition for the lead, an audience vote to elect the prince, a school production as the play within the play, and a Great Dane onstage. I had a blast.
Peter Crawley, Irish Times
In a masterstroke a group of school students for whom the play is a set text were brought in for the play-within-the-play and also to paraphrase the gravedigger/ funeral scene. The innovation and cheek were non-stop. â˜… â˜… â˜… â˜…
Ian Shuttleworth, Financial Times
Dates: 18 – 21 October 2017
Arts Over Borders are bringing back their Happy Days Beckett Festival to Enniskillen. We are delighted to present a lecture demonstration of Quad in collaboration with Irish Modern Dance Theatre and University of Bristol mathematician Conor Houghton.
Mysterious, geometric and symmetrical, Quad is an intricately choreographed movement sequence devised by Samuel Beckett. Four figures outline a quadrangle to a rapid, percussive beat. A pattern emerges and collisions are avoided. Written originally as a television play, this is a rare opportunity to see what may be Beckett’s most formal work.
Date & Times: Sunday 3 September 2017, 6pm
Venue: Ardhowen Theatre, Fermanagh
Great news! The Pan Pan International Mentorship will be taking place for the fifth time thanks to a grant from the Arts Council’s Theatre Artist Development Scheme.
We are delighted to have Anna-Sophie Mahler as mentor for our 5th Mentorship. Born in Kassel, she studied directing at the Hanns Eisler Academy of Music in Berlin. Since then her artistic interest has been dedicated to experimental, especially documentary types of musical theatre. From 2002 to 2004 she worked as assistant director at the Theater Basel and subsequently as assistant to Christoph Marthaler and Christoph Schlingensief.
Since 2004 she has worked as theater and opera director in places such as Zurich, Basel, Weimar, Lucerne, Berlin and Bremen. In 2006 she founded her own independent group CapriConnection in Basel, which is characterized by the interweaving of documentary texts with music and images. The piece “Ars moriendi” by CapriConnection was invited to the theater festival Impulse (2011). Within the framework of the Zürch Festivals (2013) “Tristan oder Isolde” was performed, a production in the remains of the stage design by Anna Viebrock in the Bayreuth staging of “Tristan und Isolde” by Christoph Marthaler. As part of the Munich Opera Festivals 2015 she was producing “Francesca da Rimini” at the Bayerische Staatsoper.
During the 2015/16 season Anna-Sophie Mahler staged the debut performance of “Mittelreich”, an adaptation of the novel by Josef Bierbichler at the Münchner Kammerspiele.
Stay tuned – further information about the application process, what the mentorship will entail and the dates involved will be announced soon.