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by Tom Stoppard 1 . DOGG'S HAMLET CAST

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Baker Conor French . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

"WORDS, WORDS, WORDS ." (Hamlet) Abel OlanWrynn ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Charlie Cillian O'Duibghuill

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tom Stopparci, often described as the wittiest playwright of his generation and Easy Steven Vermaat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . very recently as "the man who brought brains back into British comedy", has Dogg GarrySandison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . provided a programme note for Dogg's Hamlet, Cahoot's Macbeth which Lady Patricia07Leary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . audiences may or may not find illuminating: Nurse Miriam FordelMari Sydenham

Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Maik O'Shaughnessy Dogg's Hamlet derives from a selection of Wittgenstein's philosophical investig- Fox Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sarah Fitzgibbon ations. Consider the following scene. A man is building a platform using Mrs Dogg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edel Kennedy materials of different shapes and sizes. These are thrown to him by a second Shakespeare Garry Sandison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . man, one at a time, as they are called for. An observer notes that each time the Hamlet Sarah Fitzgibbon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . first man shouts 'PLANK?' he is thrown a long flat piece. Then he calls 'SLAB!' Horatio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Donncha O'Sullivan and is thrown a piece.of a different shape. This happens a few times. There is a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . call for 'BLOCK!' and a third shape is thrown. Finally a call for 'CUBE!' Claudius Gary Cogan

produces a fourth type of piece. An observer would probably conclude that the . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gertrude Edel Kenneally different words described different shapes and sizes of the material. But this is . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Polonius Peter Walsh not the only possible interpretation. Suppose, for example, the thrower knows Ophelia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cillian O'Duibghuill in advance which pieces the builder needs, and in what order. In such a case Laertes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eugene Leahy

- 3 there would be no need for the builder to name the pieces he requires but only Ghost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mark O'Shaughnessy to indicate when he is ready for the next one. So the calls might translate thus; Bernardo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Olan Wrynn PLANK - READY, BLOCK - NEXT, SLAB - OK, CUBE - THANK YOU. Francisco Conor French . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . In such a case, the observer would have made a false assumption, but the fact Gravedigger William O'Connor/Roger Ellis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . that he on the one hand and the builder on the other are using two different Osric . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Miriam Forde/Mari Sydenham languages need not be apparent to either-party. Moreover, it would also be possible that the two builders do not share a language either; and if life for them . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Player King Louise Ferguson

consisted only of building platforms in this manner there would be no reason. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Player Queen Jackie McSweeney . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . for them to discover that each was using a language unknown to the other. This Player Villain Miriam Forde/Mari Sydenham

p * . happy state of affairs would, of course, continue only as long as, through sheer e . co-incidence each man's utterance made sense (even if not the same sense) to CAHOOT'S MACBETH

jT..'h.. CAST

T the other. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Macbeth/I+ndovsky Timothy McCarthy

Lady Macbeth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patricia O'Leary Of Cahoot's Macbeth, Stoppard says: Banquo/Cahoot Arthur Stanley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cahoot's Macbeth is dedicated to the Czechoslovakian pla ight Pave1 Kohout. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . " which f o l l o w a h e fall of Dubcek, Macduff Mark 07Shaughnessy

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . evented from pursuing their careers. Ross EugeneLeahy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Duncan Donncha 07Sullivan

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I met Kohout and Pave1 Landovsky, ~a lco l rn Gary Cogan . '.I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . t from working for years since falling Witches Sarah Fitznibbon, Jackie McSweeney foul of the authorities. One evenin Landovsky took me backstage at one of the . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Miriam Forde/Lo,uise Ferguson theatres where he had done some d his best work. A performance was going on First Murderer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . William OYConnor/Roger Ellis at the time and his sense of fierce frustration is difficult to describe. Second Murderer . . . . . . . . . . . . . . . . . . . . : . . . . . . . . . . . . . . . . . Conor French

Perhaps the real source of Stoppard's double-bill is to be found in the Book Messenger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cillian O'Duibghuill - . . _ - of Genesis: Inspector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Garry Sandison

Now the whole world had one language and a common speech. As men Hostess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mari Sydenham moved eastwards, they found a plain in Shrnar and settled there. Easy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . StevenVemagt , I

? They said to each other, "Come, let us make bricks and bake them Boris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . William O'Connor/Roger Ellis Y ACKNOWLEDGEMENTS ' thoroughly." Then they said, "Come, let us build ourseiveiia city, with a tower Maurice Conor French . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . that reaches to the heavens, so that we may make a name.for ourselves and not be scattered over the face of the earth." BACKSTAGE

But the Lord came down to see the city and the tower that the meh were PrOductiOnAssistant: Karen OZeary Lighting Design: Ken Hartnett Shaulann Chan, YTC wishes to thank the following for their assistance: Stage Manager: David Twomey Lighting Operators: Timothy Calvert, Marion OWahony building. The Lord said, "If as one people speaking the same language they have Mark Walsh Stephen Murphy, Padraig Corkery Triskel Arts Centre

s, then nothing they plan to do will be impossible for them. Properties Fiona Ryan, Marion Long, John Bourke, Secretarial Assistance: Mari Sydenham, Patricia Hartington, Deirdre O'Dowd

The Board of Management of Ashton school down and confuse their language so they will not understand Nicholas O'Brien

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Robin O'Sullivan Sound: Tony Barry Prompt: Marion Long Cork Corporation (dust-jackets) Alan Gallett Sound operator: Cormac OShea ' Deirdre Flym and So the Lord scattered them over all the earth and they stopped building the ~ : ~ ~ ~ ~ s i g d : Alan Gdett Set Painting: Jhdy O'Connell, ~ ~ ~ ~ t ~ f - ~ ~ ~ ~ ~ : Bfgfa;, John Brown3 Annemarie Cotter, Aibhlin Dunne, Joe Chalrners

city. That is why it was called Babel - because there the Lord confused the printer: Litho Press (Midleton) Lynda Murphy, D.0.C. Optical Co. Ltd. - 'language of the whole world. Construction: Eddie Cogan, Tom Spaldiug assisted by cast. . . Liam Horgan + - I . .

assisted by cast Costumes: Debra Kennedy, Director: Stephen Daunt I . - . .

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r The action of Doggls Hamlet is set in a school hall and at the castle of Elsinore; Cahoot's

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Macbeth happens in an artist's studio. Total running time is approximately an hour and "4r 4 - :. * &

a half, and there will be one 10 minute interval. - . '. '

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t. . -

t . ABOUT YOUTH THEATRE (CORK) Ltd.

. This is YTC's second season. The principal aim of the Company is to provide an opportunity for young people in the 16-22 age range to gain experience of all areas of theatre. The Company.is dependent upon sponsorship of business and private individuals to fund its activities; to date, the Arts Council has found itself unable to supply any assistance. '

YTC's first season featured two plays - Animal Farm and Scapino - and some street theatre. Season '87 will involve some 80 members in the presentation of two evening productions, two lunchtime shows, plus street and carnival theatre. Watch out for:

BYlVta (Richard Tydeman) at the T r y ; . m . drily from Monday 13 July to Friday 17 July; ,* . Gosforth's Fete (Alan Ayckbourn) at the Triskel, 1.15 p.m. daily from Monday 27 July to Friday 31 July;

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Oklahoma (Rogers and Hammerstein) at the Granary, 8.00 p.m. nightly from Wednesday 22 July to Saturday 1 August.

YTC is a non-profit company limited by guarantee. It is assisted by Cork Corporation and Cork County Council. r . Director: Stephen Daunt Administrator: Emer Horgan Patrons: Victor Bond, Hugh Coveney, Michael Conlon,

Sheila Goldberg. Solicitor: John W. T. Deane B.C.L. Accountant: Clive D. Hutchinson (Greenan, Kelly, Hutchinson) Bankers: Allied Irish Banks, 66 South Mall.