Dublin Will Show You How is a provocative play that offers a gut-wrenching glimpse into the intimidation and isolation of women living in the culture of coercion and crime. It speaks of oppression and ultimately women’s ostracisation, where you cannot leave your home for fear of hearing or seeing something you shouldn’t, or being implicated in somebody else’s business. It is based in the north inner city of Dublin but it is about women everywhere and their survival.
‘F.A.T. D.A.D.’, an acronym for the six counties under British rule, portrays the life of teacher, Fiachra Martin. His classroom acts as a symbol of a divided Ireland and the impact this perpetual tension has on lives of his students. Mr. Martin goes on hunger strike with Bobby Sands, and as his beliefs deepen, he finds himself unemployed and homeless.
Mae lives with her son, Steo, but he is hell bent on revenge on a drug dealer who he believes is responsible for the death of his father. This musical play sets out to explore the world of Mae as she tries to restrain Steo from destroying his own life.
In collaboration with the Abbey Theatre and Dublin City Council, 'Browbeating' worked with local womens’ groups who wanted to explore their experience of intimidation in Dublin’s North Inner City.
The Complex held an Assembly performance to start a long term project exploring the damage done by the black economy on female lives in modern Ireland. Building on the Complex's north side connections with community groups, Browbeating used personal experience, debate, passion and creativity to deepen our understanding of this issue.
Francie Brady was a young boy in the early nineteen sixties Ireland, when he committed the brutal murder that is at the heart of the novel “The Butcher Boy”. Now, many years later, Francie is one of the last residents of the Dundrum Mental Hospital where he has spent his life since he committed that dreadful crime, trying to make sense of his life and achieve redemption.
‘Reassembled, Slightly Askew’ is an autobiographical live art piece by Shannon Yee, and is a co-production with The Complex.
In 2008, Yee became critically ill with a rare brain infection which led to several life-changing surgeries, followed by years of recovery and finally reintegration back into society with a hidden disability. As part of her recovery Shannon decided to share her story with audiences.
The show takes audience members on a unique and immersive theatrical experience. They lie in a hospital bed, wearing an eye mask and headphones, under supervision by a nurse – as if with Yee on her journey toward reassembling her life.
Many local businesses have donated services and gifts to 'The Complex' but the cost of equipment for the basic infrastructure to get it up and running cannot be avoided. Capital funding for the arts is currently frozen.
This is an empowering enterprise where artists are changing the fate of building development, something that would never have existed before the crash.
A deeply dark comedy about the fragility of love and loyalty in a world where success is measured by how far you push others down, ‘On The Batter’ is the new full-length play from The Complex writer-in-residence Anthony Goulding.
Explores the complexities of change, the challenges to a community and the prospect of a new way of being. With over twenty characters, this epic piece of site-specific drama offers the audience a unique, immediate, human experience.