A word from our audiences about 565+

1.Unlike anything I’ve ever seen. I like that you speak in a hush as though confiding in us. I likethat you came out of the audience and at last return to us.
2. Marie is riveting – could not keep my eyes off her for a second. Very genuine.
3. For reasons I can’t explain Marie opening and closing the play in the audience was incredibly powerful. Her monologue was amazing; thank you so much.

Irish Theatre Magazine

Below is an extract from Thomas Conway's article 'The World on their own Terms' from the December 2010 issue of Irish Theatre Magazine.

Una McKevitt’s work is marked by a keen instinct for the fecundity of available text. And the more she goes in its pursuit, the more she discovers in text its sensuous values. Her work is shifting theatre instinctively along an axis from sense to sensuality. Text is not just the words spoken, but the music – cadence, pitch, tonal qualities – of that utterance. Not alone the music, but the movements, gestures, signatures of “non-professional” performers – as they are, for the most part, with her work – in space and time. Not alone signatures of her performers, but of audience members summoned to stand, so to speak, alongside them by virtue of their witness. McKevitt evidently loves to read people.

565+ Washington

A great thank you to the fantastic audiences we met during the UBDTF last October 2010 and to the festival for their support of the show.

In November 2010 we took an edited version of the 565+ to Solas Nua in Washington DC performing at Flashpoint Theatre. On our way to the theatre every evening we walked past The White House and during the day tried to do as much sight seeing as possible: DC is a tourist's dream! It was our first experience of going abroad with a show and I think it might be one of the best ways to experience a city. We were invited by Solas Nua and Project Brand New who are running the same initiative in Washington again this year (2011) bringing a total of 9 new pieces of Irish Theatre to DC in 12 months.