Gavin_Kostick

Gavin Kostick

Gavin Kostick

Irish playwright

Gavin Kostick is a playwright, dramaturge at the LIR academy, Dublin,[1] and literary manager of Fishamble: The New Play Company.[2] He founded the Show in a Bag series of plays.[3]

Works

Gavin Kostick's dramatic works include The Ash Fire (1992), winner of the Stewart Parker Trust Award,[4][5][6] which is based loosely on the experiences of his grandfather who entered Ireland after he 'jumped ship in the wrong port'.[7]

Kostick's other plays include Jack Ketch’s Gallows Jig (1994),[8] The Flesh Addict (1996),[9] Doom Raider (2000),[10] The Asylum Ball (2000),[11] Contact (2002),[12] The Medusa (2003),[13] a new interpretation of Homer's Odyssey (2023),[14][15] Fight Night (2010),[16] Swing (2013),[17][18] At the Ford (2015),[19] Games People Play (2015),[20] winner of the Best New Play at the Irish Times Theatre Awards, Pocket Music[21] Gym Swim Party (2019),[22] and Invitation to a Journey (2016).[23] After gathering oral histories from Belfast's Jewish community, Gavin Kostick wrote This is What we Sang (2009),[24] a play that was performed at the TriBeCa Synagogue (New York)[25] and featured at the 2011 American Conference of Irish Studies.[26]

Gavin Kostick was the librettist for Raymond Deane’s opera The Alma Fetish.[27] In 2007, he won the Spirit of the Fringe Award at the Dublin Fringe Festival for his five-hour performance as Marlow from Joseph Conrad's Heart of Darkness.[28]

Personal life

He is the brother of the novelist and historian Conor Kostick.[29]

References

  1. [1]
    "Kostick,Gavin". Contemporary British-Jewish Theatre. Retrieved 31 March 2023.
  2. [2]
    Sáoirse Goes (19 November 2021). "Speaking with Gavin Kostick". University Times. Dublin.
  3. [3]
    Flynn, Deirdre; Murphy, Ciara L. (2022). Austerity and Irish Women’s Writing and Culture, 1980-2020. Taylor & Francis. p. 85.
  4. [4]
    Jordan, Eamonn; Weitz, Eric (2008). The Palgrave Handbook of Contemporary Irish Theatre and Performance. Springer. p. 309.
  5. [5]
    "Theater Reviews". New York Magazine. New York. 20 December 1993.
  6. [6]
    "Theatre Reviews". Times Literary Supplement. London. 1993.
  7. [7]
    King, Jason (2005). "Interculturalism and Irish Theatre.The Portrayal of Immigrants on the Irish Stage". The Irish Review. 33. Retrieved 18 March 2023.
  8. [8]
    Kinevane, Pat (2014). Silent and Forgotten. Methuen Drama.
  9. [9]
    Weitz, Eric (2004). The Power of Laughter: Comedy and Contemporary Irish Theatre. Peter Lang. p. 67.
  10. [10]
    Kinevane, Pat (2014). Silent and Forgotten. Methuen Drama.
  11. [11]
    Salis, Loredana (2010). Stage Migrants. Cambridge Scholars Publishing. p. 60.
  12. [12]
    Kinevane, Pat (2014). Silent and Forgotten. Methuen Drama.
  13. [13]
    Kinevane, Pat (2014). Silent and Forgotten. Methuen Drama.
  14. [14]
    "A Handy Guide to 99 of the Best Irish Festivals in 2023". Irish Times. Ireland. 14 January 2023. Retrieved 12 March 2023.
  15. [15]
    "Future of the Past". 27 January 2023.
  16. [16]
    "This Weekend in Limerick". The Limerick Post. Ireland. 2 December 2021. Retrieved 12 March 2023.
  17. [17]
    "Community Noticeboard". The Independent. Ireland. 9 November 2022. Retrieved 12 March 2023.
  18. [18]
    "Behind the Curtain: The Dark Arts of Dramaturgy". The Irish Times. Ireland. 8 October 2013. Retrieved 12 March 2023.
  19. [19]
    "Review: At the Ford". The Independent. Ireland. 2 December 2021. Retrieved 12 March 2023.
  20. [20]
    "The Games People Play". The Galway Advertiser. Ireland. 14 April 2015. Retrieved 12 March 2023.
  21. [21]
    "A Directors Journey". The Independent. Ireland. 26 March 2017. Retrieved 12 March 2023.
  22. [22]
    "Gym Swim Party review". The Irish Times. Ireland. 13 September 2019. Retrieved 12 March 2023.
  23. [23]
    Kelly, Sonya; Stapleton, Noni; McAuliffe, Margaret (2017). Wheelchair on My Face; Charolais; The Humours of Bandon. Bloomsbury.
  24. [24]
    "Jews schmooze in the city festival". The Jewish Chronicle. London. 15 October 2009. Retrieved 18 March 2023.
  25. [25]
    Corey Kilgannon (22 September 2010). "Irish Actors Get a Taste of Yiddish Theater". The New York Times. New York. Retrieved 18 March 2023.
  26. [26]
    Fox, Christie L. "Singing Difference: Viewing Belfast Jews through Gavin Kostick's This is What We Sang". Utah State University. Retrieved 18 March 2023.
  27. [27]
    Filler, Susan M. (2018). Alma Mahler and Her Contemporaries. Routledge.
  28. [28]
    "Kostick,Gavin". Contemporary British-Jewish Theatre. Retrieved 31 March 2023.
  29. [29]
    Kostick, Conor (2008). The Social Structure of the First Crusade. Leiden: Brill. p. ix.
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