Kevin Gleeson

Produced by Landmark
Premiered at Project Art’s Centre January 2024

★★★★★ the ‘triumph’ of Stephen Rea’s performance The Irish Times

Krapp Stephen Rea

Director Vicky Featherstone
Sound Designer Kevin Gleeson
Set Designer Jamie Vartan
Costume Designer Katie Davenport
Lighting Designer Paul Keogan

KATHARSIS premiered March 18th 2023 at Akademietheater, Vienna.

Stage Design JEREMY HERBERT
Sound Design & Music KEVIN GLEESON
Video Design SOPHIE LUX
Lighting Design MARCUS LOREN
Costume Design MIRJAM PLEINES

Dramaturg ALEX KERLIN
Assistant Director SEBASTIAN MCKIMM
Sensitivity Reader DANIEL BITOUH
Stage Design Assistant FELIX HUBER
Costume Assistant ANJANA BERGER

Direction BUSH MOUKARZEL, BEN KIDD

by Göteborg Stadsteater

Premiere 5 November 2021

Av Ingmar Bergman
Bearbetning Mark O'Halloran, Dead Centre
Regi Bush Moukarzel
Ljuddesign och Kompositör Kevin Gleeson
Videoregi Grant Gee
Scenografi Jeremy Herbert
Kostymdesign Maja Kall
Maskdesign Patricia Svajger
Ljusdesign Max Mitle

REGIE BUSH MOUKARZEL / BEN KIDD
BÜHNE UND KOSTÜME NINA WETZEL
VIDEO SOPHIE LUX
SOUNDDESIGN UND MUSIK KEVIN GLEESON
LICHT MARCUS LORAN
DRAMATURGIE ANDREAS KARLAGANIS

After premiering To Be a Machine (Version 1.0) in Dublin in September 2020, Die Maschine in Mir is the German language premiere, created in partnership with Burgtheater, Vienna, featuring Michael Maertens.

In the midst of a lockdown in Vienna, where bodies have become biohazards, Die Maschine in Mir offered a new way of thinking about what it means to be an audience. On New Year’s Eve 2020, the theatre was used to hold a wake for the very idea of congregating together in a room, and a meditation on our attempt to solve the modest problem of death.

Premiere: December 31st, 2020, streamed live from Kasino im Burgtheater, Wien.

Performer Michael Maertens
Featuring Mark O’Connell as himself
Adapted Mark O’Connell and Dead Centre from the book by Mark O’Connell
German translation Henning Bochert
Technical Direction and Video Design Jack Phelan
Sound Design and Music Kevin Gleeson
Set Design Andrew Clancy
Lighting Design Stephen Dodd / Norbert Gottwald
Costume Design Saileóg O’Halloran / Maria-Lena Poindl

by Dead Centre

An early iteration of a future project, To Be a Machine (Version 1.0) is an adaptation of the Wellcome prize-winning book by Mark O’Connell: an exploration of Transhumanism, a movement whose aim is to use technology to fundamentally change the human condition, to improve our bodies and minds to the point where we become something other, and better, than the animals we are.

In the midst of a global pandemic, where our bodies have become biohazards, transhumanists offer a way into a disease-free digital age. We follow Mark from cryonic storage facilities to basement biohacking labs as he meets the prophets of our techno-future. We use the theatre to hold a wake for the very idea of congregating together in a room, and a meditation on humanity’s attempt to solve the modest problem of death.

This adaptation was presented as a live-audience-upload-experience, as part of Dublin Theatre Festival. Premiere: October 1, 2020, streamed live from Project Arts Centre.

Performer Jack Gleeson
Featuring Mark O’Connell as himself
Adapted Mark O’Connell and Dead Centre from the book by Mark O’Connell
Technical Direction and Video Design Jack Phelan
Set Design Andrew Clancy
Sound Design and Music Kevin Gleeson
Lighting Design Stephen Dodd
Costume Designer Saileóg O’Halloran

★★★★
Sunday Times
★★★★
Sunday Business Post
★★★★
The Stage

by Dead Centre
Produced by Burgtheater, Vienna

“A book like a dream. As groundbreaking as it is controversial. Sigmund Freud’s The Interpretation of Dreams is no less impenetrable than the soul it strives to illuminate. It is a confused guide to the scenes we see in our dreams and, consequently, to our ego, which is what dreams are all about, says Freud. His entire life he regarded this work as his magnum opus, as the foundation stone of psychoanalysis and as a scientific guide to understanding dreams. Freud was convinced that he could solve the mysteries of dreams and gain access to the soul, which he describes as an obscure desiring machine.

The British-Irish theatrical duo Dead Centre create intelligent yet entertaining adaptations of the great works of Western culture. With great relish, they upset the separation between the onstage fiction and the audience’s reality. In their first production in Vienna, they create a “theatrical dream workshop” that leads from Dr Freud’s treatment room at Berggasse 19 into our own childhood bedrooms, where nightmares lurk in the dark of night.”

REGIE BUSH MOUKARZEL / BEN KIDD
BÜHNE UND KOSTÜME NINA WETZEL
VIDEO SOPHIE LUX
SOUNDDESIGN UND MUSIK KEVIN GLEESON
LICHT MARCUS LORAN
DRAMATURGIE ANDREAS KARLAGANIS

by Dead Centre
Co-Produced by The Gate Theatre & Dublin Theatre Festival

★ ★ ★ ★
The Irish Times

A play without performers, BECKETT’S ROOM tells the story of the apartment in Paris where Samuel Beckett lived with his partner Suzanne during the second world war. A story of Art and Resistance, the audience listen through headphones and gaze upon a spectacle of absence - the absence of bodies on stage focuses us more intently on their stories, on the world changing around us, and changed by us. The biography of a room, and an invitation to bear witness to a world as it disappears.

Headphones are provided and worn throughout the performance.

Directors Bush Moukarzel and Ben Kidd
Producer Aisling Ormonde
Set Designer Andrew Clancy
Sound Design & Music Kevin Gleeson
Lighting Designer Stephen Dodd
Video Designer José Miguel Jiménez

by Dead Centre
after »The Tempest« by William Shakespeare
Produced by Schaubühne, Berlin

Shakespeare’s last play, The Tempest, takes place nowhere. The magician Prospero − also believed to be Shakespeare’s last role as an actor − rules over an unnamed island, a place where those stranded on it experience boredom, terror, grief, euphoria and despair. In other words, they are in a theatre.

Premiered
24 April, 2018
Saal C, Schaubühne, Berlin

Direction Ben Kidd, Bush Moukarzel
Set Design Chloe Lamford
Music & Sound Design Kevin Gleeson
Costume Design Nina Wetzel
Video José Miguel Jiménez González
Dramaturgy Nils Haarmann
Lighting Design Norman Plathe

by Dead Centre

During the turmoil of the Russian Revolution in 1917, Maria Chekhov, Anton’s sister, placed many of her late brother’s manuscripts and papers in a safety deposit box in Moscow. In 1921 Soviet scholars opened the box, and discovered a play. The title page was missing. The play they found has too many characters, too many themes, too much action. All in all, it’s generally dismissed as unstageable. Like life. Chekhov before he was Chekhov.

Headphones are provided and worn throughout the performance. 

Chekhov’s First Play won BEST SOUND DESIGN at the IRISH TIMES THEATRE AWARDS 2016 and was nominated for BEST PRODUCTION. Chekhov's First Play toured extensively throughout 2016 & 2017 including performances in Berlin, London, Bordeaux, Brisbane, Groningen, Lausanne, Bristol, Tbilisi, Hong Kong, Bucharest, Amsterdam & St. Petersburg.

Text by Anton Chekhov, Ben Kidd and Bush Moukarzel
Set Design Andrew Clancy
Sound Design Kevin Gleeson and Jimmy Eadie
Effects and Onstage Design Grace O'Hara
Costumes Saileóg O'Halloran
Light Stephen Dodd
Choreography Liv O'Donoghue

by Dead Centre

William Shakespeare had one son named Hamnet. Hamnet died when he was 11. In 1599, Shakespeare wrote a play called Hamlet. A solo work for an eleven year old boy, Hamnet uses live video and dead video to bridge the gap between two generations, asking each other what they want to pass on and receive. 

Hamnet premiered at FIND festival 2017 in the Schaubhune, Berlin. It made it's Irish Premier in the Peacock Theatre in Dublin Theatre Festival 2017 in October.

Performed by Ollie West

Set Design Andrew Clancy
Costumes and Effects Grace O'Hara
Light Stephen Dodd
Sound Design Kevin Gleeson
Video Design Jose Miguel Jimenez
Choreography Liv O'Donoghue

Produced by The Gate Theatre

★ ★ ★ ★ ★
The Irish Times

★ ★ ★ ★ ★
Irish Mail on Sunday

The last two people at a house-warming party. Two hearts on the shelf. Are they brave enough to fall?

Director Marc Atkinson
Set & Costume Designer Sarah Bacon
Sound Designer Kevin Gleeson
Lighting Designer Sinéad McKenna
Movement Director David Bolger
Assistant Set Designer Stefania Pantavos
Assistant Director (intern) Annachiara Vispi

Produced by the Gate Theatre

★★★★★
Irish Times

★★★★
The Guardian

Three retired nuclear scientists. A crumbling cottage by the sea. The fallout from life, love and nuclear power stations.

Director Oonagh Murphy
Set & Costume Designer Sarah Bacon
Lighting Designer Sinéad McKenna
Sound Designer Kevin Gleeson
Assistant Set Designer Stefania Pantavos

by Dylan Tighe
Co-Produced with The Abbey Theatre

Pasolini’s Salò Redubbed daringly transposes Pasolini’s notorious final film to Ireland. This radical adaptation by Dylan Tighe explores the beliefs and values behind ‘coercive confinement’ and their enduring impact on the power relations and injustices of contemporary Ireland. Pasolini’s Salò Redubbed is a fearless allegory of abuses of power, structural violence, masculinity and class supremacy.

Set Design Aedín Cosgrove and Dylan Tighe
Lighting Design Aedín Cosgrove
Video Design José Miguel Jiménez
Post-Production Sound Design Kevin Gleeson
Costume Supervisor and Stylist Ellen Kirk
Assistant Director Grace Morgan

by Cois Ceim Dance Theatre, Crash Ensemble & Fishamble the New Play Company

★ ★ ★ ★
The Irish Times

Contemporary dance, music & theatre show inspired by the life and work of renowned irish designer and architect Eileen Gray. 
Premiered at the 2016 Galway International Arts

Direction David Bolger, Jim Culleton
Script Gavin Kostick
Original Score Deirdre Gribbin
Choreography David Bolger
Musical Director Kate Ellis
Design Maree Kearns
Sound Design Kevin Gleeson
Lighting Design Sinéad Mckenna
Hair & Makeup Design Val Sherlock

by Liv O’ Donoghue

★ ★ ★ ★
The Irish Times

Combining physicality and performance with documentary footage and live feed video, AFTER features a cast of international dancers, physical actors and a filmmaker from Ireland, Norway, Chile, and the UK.

Sound Design & Music Kevin Gleeson
Video Design José Miguel Jiménez
Set Design Eugenia Genunchi
Lighting Design Sarah Jane Shiels

by Collapsing Horse Theatre

‘The Water Orchard’ is a kaleidoscopic new comedy from Collapsing Horse, a surreal, innovative, and genre-bending play about shouting into the winds of change. 

Premiered at Project Arts Centre, July 2017

Writer / Co-Director Eoghan Quinn
Co-Director Dan Colley
Set and Costume Designer Sarah Bacon
Sound Design & Music Kevin Gleeson & Cameron Macauley
Dramaturg Jack Gleeson
Lighting Designer Sinead Wallace
AV Designer Jack Phelan