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Last Updated: 01 Jul 12

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Heather O'Shea

HEATHER O'SHEA   

Nationality:   n/a    Email:   n/a   Website:   n/a

Literary Agent:  n/a

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Plays by Heather O'Shea

Blue Fence

1st Produced:

Pleasance Theatre, Carpenters Mews, North Road, London, N7 9EF >>>

22 Feb 2011

Company:

n/a

1st Published:

I don't think it has been published. Try emailing Playwright or Agent, where listed, at top of page.

ISBN/ASIN:

-

Music:

-

doollee no

#124962

To Buy This Play:

 

abebooks.com
abebooks.co.uk

stageplays.com

amazon.com

amazon.co.uk

amazon.ca

Genre:

Play/Drama

Parts:

Male

-

Female

-

Parts other:

-

Notes:

-

Synopsis:

As Claire begins work on the most exciting commission of her career - a public sculpture for the 2012 Olympics - she has a life-changing stroke. As the Olympics take over the East End, Claire's friends and family begin to take over her life. As she struggles to accept that she is now labelled a 'disabled artist', she questions whether she can even call herself an artist at all. This beautiful and moving play focuses on the lives of seven

Further Reference:

-


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Cut Off

1st Produced:

Theatre 503 (Latchmere Theatre), 503 Battersea Park Road, London SW11 3BW >>>

15 Sep 2010

Company:

Papercut Theatre

1st Published:

I don't think it has been published. Try emailing Playwright or Agent, where listed, at top of page.

ISBN/ASIN:

-

Music:

-

doollee no

#119174

To Buy This Play:

 

abebooks.com
abebooks.co.uk

stageplays.com

amazon.com

amazon.co.uk

amazon.ca

Genre:

short play

Parts:

Male

-

Female

-

Parts other:

-

Notes:

Art is not an add-on, It never has been. It has always been central to our existence and understanding. Lee Hall, Guardian Theatre Blog earlier this year. This year (2010) the Arts Council announced £19m worth of cuts to arts funding. Some people thought this was for the best, some thought it was for the worst. Five writers give their response. Plays by Ben Blaine (BAFTA Short-Listed Film Maker), Peter Cant, Sarah Grochala (Winner of the Amnesty International Protect the Human Playwriting Competition for S27), Heather O'Shea & Rebecca Walker (Winner of BBC Writersroom Five Days in May Competition)

Synopsis:

n/a

Further Reference:

-


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Presently

1st Produced:

Barons Court Theatre, 28 Comeragh Road London W14 9HP >>>

2008

Company:

First Draft (now blank pages)

1st Published:

I don't think it has been published. Try emailing Playwright or Agent, where listed, at top of page.

ISBN/ASIN:

-

Music:

-

doollee no

#141932

To Buy This Play:

 

abebooks.com
abebooks.co.uk

stageplays.com

amazon.com

amazon.co.uk

amazon.ca

Genre:

Political

Parts:

Male

1

Female

2

Parts other:

-

Notes:

-

Synopsis:

Communication had evolved: information is passed freely and in a myriad differing ways. The way secrets are kept remains the same. Two sisters try to unravel the circumstances of George Ferraby's death. Was he a soldier? A policeman? Or a spy? Through different eras of history and opposing interactions the women encounter times of communication overload and drought, but are undeterred in their search for the truth which takes them from 1810 to 2010.

Further Reference:

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Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.