Hello readers!

We are delighted to bring you our third edition of The Guthrie Gazette. As we receive more information from our resident artists, each edition of the Gazette is longer, and, we hope, more fascinating.

We begin with a brief outline of the work of theatre designer, Tanya Moiseiwitsch, whose designs were essential to the dissemination of Sir Tyrone Guthrie's vision as a theatre director. Moiseiwitsch, who began her career at the Abbey Theatre, was a frequent visitor to Annaghmakerrig House, and a well-known and highly respected designer for theatre in Ireland, England, America and Canada. Moiseiwitsch, as readers will discover, worked with Guthrie on many productions over a period of twenty five years or so.

We follow on with links to video and music by two of our residents, thoughts on residencies at The Tyrone Guthrie Centre, and at Varuna, Australia, along with poetry, lots of exciting news about publications, forthcoming exhibitions, bursary winners and more.

_{We are delighted to receive articles, poetry, images, and updates on book launches,
exhibition openings (August to December 2023) from our residents for consideration for
inclusion in the next or further issues of the Gazette. Please send to director@tyroneguthrie.ie 
If sending images, please ensure to acknowledge the copyright holder of the work
photographed, and also the copyright of the photographer.}

_{The Guthrie Gazette is a production emanating from a busy office in Annaghmakerrig House.
We apologise in advance for any errors.
We pay artists a fee for work selected for publication in the Gazette under our Payment of the Artist Policy.}

Born in London in 1914 to Australian concert violinist, Daisy Kennedy, and Ukrainian-born classical pianist, Benno Moiseiwitsch, Tanya Moiseiwitsch forged an extraordinary and pioneering career as a renowned designer for theatre in Ireland, England, Australia, Canada, and America.

Having trained at the Central School of Arts and Crafts in London, Moiseiwitsch began her career at The Abbey Theatre in Dublin where an initial three month contract alongside theatre director, Hugh Hunt (1911-1993), turned out to be a three year stint during which she designed over fifty productions (1935-38). Her understudy at The Abbey was Anne Yeats (1919-2001).

Returning to London, Moiseiwitsch met Tyrone Guthrie in 1945, and began a series of innovative collaborations with him in 1946 (Cyrano de Bergerac, Old Vic, London) that would continue for twenty five years. It was in alliance with Moiseiwitsch that Guthrie developed what became known as the 'thrust stage,' referred to in our previous issue of The Guthrie Gazette.

'Working together at the Guthrie family home, Annaghmakerrig, near Monaghan, Ireland, in October 1952, they laid out their design...From their experience they knew Shakespeare required "an upper level, a lower level, and a cellar." Moiseiwitsch later recalled 'how they sought to keep the design "as bold as possible and let the actors and the props give the locality."' They made a balsa wood model of the stage, which Guthrie 'carefully balanced on his lap as he flew across the Atlantic in December of that year.' Guthrie took the design to the Stratford Festival Theatre in Ontario in 1953. It was to 'become a prototype for the open stages Moiseiwitsch would design for the Guthrie Theater in Minneapolis and the Crucible Theatre in Sheffield, England, and would inspire the construction of many others.' (The Stage Is All the World, The Theatrical Designs of Tanya Moiseiwitsch, The David and Alfred Smart Museum, The University of Chicago, 1994, pp. 82-3 & 85).

Among the works of art at The Tyrone Guthrie Centre are a series of watercolour sketches of masks that we now know date to 1953-54 (see photograph). Painted by Moiseiwitsch, likely during one of many visits to Annaghmakerrig House, the sketches are, in fact, designs for masks for Guthrie's production of Sophocles' Oedipus Rex for the Stratford Festival, Ontario, in 1954. Featuring British actor, James Mason (1909-1984) in the main role, the oversized masks and overall design recalled the theatre of ancient Greece, for which her designs 'capitalized boldly on three-dimensional shapes and enlarged human proportions.' The masks were lightweight, made from 'gauze and buckram layered over papier machier,' and designed so that all but the actor's mouth was covered.(The Stage is All the World, p. 106).

'Moiseiwitsch came to believe, as did Guthrie, that drama is a kind of ritual, not unlike a religious rite. An audience, like a congregation, gathers to participate in a symbolic or stylized act. They accept the action on stage not because it is real, but because they allow themselves to become imaginatively involved. Guthrie's ritual theory, derived from the actual role of drama in ancient Greece, influenced Moiseiwitsch's approach to Oedipus Rex; her designs encouraged the audience to receive the play symbolically rather than realistically.' (The Stage is All the World, p. 103).

Moiseiwitsch returned to large, stylized masks for The House of Atreus in 1967, considered her most 'spectacular, legendary, and powerful masked production,' and went on to design further masked productions including The Persians (The Crucible, 1972), and Oedipus Rex and Oedipus at Colonus (South Australia Theatre Company, 1978). (The Stage is All the World, p. 109).

Awarded several academic honours, Moiseiwitsch received a CBE in 1976, and the Order of Canada which was awarded just a few weeks before she died. Born 3 December 1914; died 19 February 2003.

^{Photograph : Watercolour study of masks for  Oedipus Rex  (1954) by Tanya Moiseiwitsch. Artwork copyright of the Tanya Moiseiwitsch Estate.
Collection: The Trustees of The Tyrone Guthrie Centre at Annaghmakerrig. Photograph copyright of the Trustees of The Tyrone Guthrie Centre at Annaghmakerrig.}

The creative collaboration between Moiseiwitsch and Tyrone Guthrie began with Cyrano de Bergerac for the Old Vic, London, in October 1946. This was followed by:

Peter Grimes, Royal Opera House, November 1947; Henry VIII, Stratford-upon-Avon, July 1949; The Beggar's Opera, Lyric Aldeburgh, June 1950, co-designer Christine Pirie; The Passing Day, Northern Ireland Festival Company, March 1951 and July 1951; A Midsummer Night's Dream, Stratford-upon-Avon, December 1951; Henry VIII, Old Vic, May 1953; Richard III, Stratford Festival, July 1953; All's Well That Ends Well, Stratford Festival, July 1953; The Taming of the Shrew, Stratford Festival, June 1954; Oedipus Rex, Stratford Festival, July 1954 (revived 1955 at Stratford-upon-Avon, toured to Assembly Hall, Edinburgh, and filmed in 1956); The Matchmaker, Royal Lyceum, Edinburgh, August 1954 and Royal Haymarket, November 1954; The Merchant of Venice, Stratford Festival, June 1955; A Life in the Sun, Assembly Hall, Edinburgh, August 1955, The Matchmaker, Locust, Philadelphia and Royale, New York, October 1955; Twelfth Night, Stratford Festival, July 1957; The Merchant of Venice, Tel Aviv, 1959; All's Well That Ends Well, Stratford-upon-Avon, April 1959; Design of the Guthrie Theatre stage, Minneapolis, 1962-63; The Alchemist, Old Vic, November 1962; The Three Sisters, Hamlet, and The Miser, Guthrie Theatre, Minneapolis, 1963; Saint Joan, Volpone,Guthrie Theatre, Minneapolis, 1964; The Cherry Orchard, Guthrie Theatre, Minneapolis, 1965; As You Like It and The Skin of Our Teeth, Guthrie Theatre, Minneapolis, 1966; Volpone, National Theatre Company/Old Vic, 1968; Macook's Corner, Ulster Theatre Company/Opera House, Belfast, Abbey Theatre, 1969; Swift, Abbey Theatre, 1969; Uncle Vanya, Guthrie Theatre, Minneapolis, 1969; The Barber of Saville, Royal Brighton, 1971. (The Stage is All the World, pp. 129-133).

In August 2022, the Crucible Theatre, Sheffield, announced the renaming of their small theatre, formerly known as the Studio, to that of the Tanya Moiseiwitsch Playhouse. The renaming was 'in honour of the hugely influential theatre designer that had an essential role in the creation of the Crucible complex.' https://www.sheffieldtheatres.co.uk/news/studio-renamed-the-tanya-moiseiwitsch-playhouse

We are planning to name a room after Moiseiwitsch - more of which in our next newsletter. We are also seeking to forge a strategic partnership or partnerships with appropriate organizations, so that we can create a bursary for an up-and-coming theatre designer to come to the Centre to make the most of our facilities, and of the creative environment that is The Tyrone Guthrie Centre. If this suggestion interests you, please contact our director at director@tyroneguthrie.ie

'Tanya Moiseiwitsch was a pioneer. Innovative, imaginative and a ground-breaker in her profession. Tanya created radical theatre shapes now enshrined and cherished in theatre buildings all over the world. Without her vision, neither the Crucible nor the newly named Playhouse would exist in the forms that they do. Hers is an incredible legacy.'

^{Sheffield Theatres, 'Our Studio is renamed The Tanya Moiseiwitsch Playhouse, 8 August 2022, www.sheffieldtheatres.co.uk}

^{Researched and written by Dr Éimear O'Connor, Director of The Tyrone Guthrie Centre at Annaghmakerrig.}

My drive to Annaghmakerrig on the Monday was filled with equal amounts of excitement and apprehension. I had never given myself permission to immerse myself in a week long indulgence in the creative practice. At least – not til now. My submission for acceptance of this opportunity was greeted with a positive ‘green light’ from Tyrone Guthrie Centre Director, Dr. Éimear O’Connor. That itself was a declaration of permission and affirmation. Hence my excitement.

But my apprehension was the result of a self-generated fear. Would I last a week in my own company? Would I manage to ‘write’ for an extended period? Would the required communal dining experience (as stipulated in Tyrone Guthrie’s will) be fraught with anticipation of forced conversation? Would I make it to Sunday?

On arrival at the centre, much of my apprehension dissipated – and all of it in due course. The welcome I received from staff and current residents alike, and the realisation that this was a special place, a place where all respected the creative, made me realise that the week ahead was going to be productive, instructive, and informative. Walks through the property, down by the lake, through the woods provided balm for the creative spirit. The allocation of the ‘Composer’s Room’ (an elevated title, I felt since I was more a songwriter rather than a composer) provided inspiration and affirmation. A Yamaha Grand Piano. A dedicated space – one that I occupied for hours at a time in ‘full flight’, recording, noting, and notating musical motifs and song segments. I couldn’t stop. And if I did, I simply walked outside and wallowed in the aesthetic beauty, listening back to my recorded notes. 

As for the shared meals? I didn’t miss one! Not one breakfast, lunch, or dinner. And neither did the 8 other residents. A collection of visual artists, writers, poets, actors, and playwrights. Our conversations ranged from shared insights into our creative processes to funny and giddy tales of life experiences. Enough to ‘fill the tank’ for further explorations back in the Composer’s Room. Bliss. Sinful bliss.

And did I last the week? I left, reluctantly on the Sunday, vowing to return at the earliest opportunity.

Of the many songs that came my way during the week, (including a collaboration with poet/writer Richard Dove from Australia), was my paean to the location, ambiance and inspiration of the centre and the vision and generosity of Tyrone Guthrie himself. This is ‘Annaghmakerrig’, an intimate recording at the Yamaha Grand piano in my Composer’s Room. Thank you, Tyrone!

^{Carl Corcoran}

We would like to warmly congratulate our recent resident, Edel Campbell, on having her painting, 'Castaway', selected for the annual Royal Academy Exhibition, London.

Campbell writes, 'The theme for this year’s Royal Academy Summer Exhibition is ‘Only Connect’. This painting is part of a series of work I made based on a collection of tiny paper and cardboard sculptures made for me by my 8 year old daughter during the Covid-19 lockdown. She left them on my bedside locker (one each morning) so I would have a surprise when I woke up every day.

I began painting this work in February 2022. Ireland had just lifted the last of its Covid restrictions and there was a sense of optimism in the air. But on the morning of the 24th I was preparing for work when I heard the news that Russia had launched a full scale invasion of Ukraine, calling it ‘a special military operation’.

As I sat in my studio listening to the news reports I found myself staring at the line of Rose’s little paper models on my shelf. These little pieces were both fragile and hopeful and in the context of that morning they seemed to look like little stage sets hinting at deeper meanings. So I began making a series of paintings of each one. The title of this painting is ‘Castaway’.'

_{Photograph - Edel Campbell 'Castaway,' oil on canvas.}

Ariel, our director's cat, otherwise known as 'slinky face', lives to chase mice, to sleep, to visit our artists in their studios, and to walk around the lake chatting to anyone who will listen. She is nine years old, and so popular that she could have her own newsletter! She was not too well recently, but she is now fully recovered and back to her usual shenanigans. Below, a poem by Róisín Leggett Bohan, written especially for Ariel.

The Cryptographer

^{(for Ariel, resident cat of Tyrone Guthrie Centre, Annaghmakerrig)}

We carried the summer
in our mouths. Nightwalks.
You padding behind, belly
dipping the tips of dandelion
seeds. You took my ink-hand
blotted with misshapen words
down to the boathouse, where water
lisped and eddied through the pockets
of the boatslip. And as evening
coughed up rain you rowed the currach
out to the middle of the lake.
We inhaled the silent landing
before you mewed in Morse code
imagine if we could forgive ourselves everything.

^{Photograph by Ariel's mum, showing the usual position adopted when Mum would like to read the newspaper.}

We would like to warmly congratulate visual artist, Una Sealy, for her portrait of Caoilfhionn Hanton which featured on this year's Leaving Certificate Art Paper.

'The Tyrone Guthrie Centre/Fingal Arts/Bealtaine Festival Bursary Award winner 2022, Una Sealy’s portrait of Caoilfhionn Hanton was featured as Question One on this year’s Leaving Cert Art paper. Caoilfhionn is a young artist from Waterford, who’s work has been been included in the International Street-Art Festival ‘Waterford Walls’ since she was seventeen years old. She has now graduated in Fine Art from SETU, and is long listed for the RDS Visual Art Awards. The painting is life size, and was commissioned by Waterford County Council, and both artist and subject are delighted that it now belongs to the historic Waterford City and County Art Collection.'

^{Una Sealy, Portrait of Caoilfhionn Hanton,
Commissioned by Waterford County Council. Collection Waterford City and County Art Collection.}

We would like to extend warm congratulations to author, Sue Hubbard, on the publication of her latest book, Flatlands.

In the depths of wartime, a friendship takes wing

Freda is a twelve-year-old evacuee from the East End, sent to live with a farming family deep in the lonely landscape of the Fens.

Philip is an artist and a conscientious objector, living in a remote lighthouse on the shores of the Wash.

The two outcasts come together amid the wild beauty of the wetlands, beneath skies filled with migrating birds and crisscrossed by Nazi bombers. As the world is consumed by war, they form a friendship that will change the course of both their lives.

_{https://pushkinpress.com/books/flatlands/}

I left Dublin on September 22^nd and travelled via Frankfurt and Singapore to Sydney and landed early on the Saturday morning. After a sunny day in Sydney, and an overnight in a hotel near Central Station, I travelled on to Katoomba by train to arrive on Sunday 25^th around noon. I was met at the station by Director, Veechi Stuart, and she showed me around the house and garden at Varuna, and gave me the keys to the Jerra Studio, a newbuild in the garden that includes a bedroom ensuite, and a tiny kitchen. Little did I expect to find myself in my very own house in NSW, for even a night, let alone a month.

That first afternoon, at a ‘meet and greet’ I met Gina Cole (novelist) from Auckland, and the following day, Nicola White (novelist) who is based in Scotland, and Director, Amy Sambrooke.  In addition to us (three International writers), there were three Australian writers’ in residence each week, and the change-over day was on Monday, when new people arrived and we had a ‘meet and greet’ introduction at tea time.

For the first couple of weeks, I was amazed to be in the Blue Mountains atKatoomba Falls, and within a ten minutes’ walk of the town. Sounds at night that I got used to in the first week were: frogs, crickets, cockatoos, magpies, rosellas and even a cock crowing early in the morning. Downpours on the corrugated steel roof, and in the first week a severe thunder storm.  

Dinner each evening at six-thirty was an opportunity to meet each of the co-residents, and the span in ages, from early thirties to mid-sixties, most of whom were working on a second or third book, meant interesting discussions around the table. After dinner, we took turns to read (a writer or two each evening) initially from published work and as weeks went on, gradually from work in progress. Readings were followed by an informal Q & A with author and a discussion on the text over a glass of wine. It enriched our understanding of each-other and of the projects we were working on.

Days were spent mostly at the desk and I started with poems that were in progress already, and gradually found myself working on new poems. Each week Gina, Nicola and myself set aside time to walk into the bush and took the Giant Stairway from Echo Point to the forest floor, a week after we arrived. It was a fascinating hike and we set off tentatively (the steps dropped 950 metres and were built in 1924). We took the cable car back up to the rim!

During the second week, Amy prompted me to ask the gardener, (grandson of Eleanor Dark, he was fifteen when she died in 1985) for a guided tour of the garden, of native trees and plants planted by her, and her husband Eric over sixty years before. They included tall Eucalypt Oreades, Scribbley Gum, Paperbark, Sugar Maple, as well as crab apple and pear that were in flower and flowering acacia. My walks into the bush were enriched and I gradually learnt to identify many species and birds. Veechi arranged for the three of us to visit a wombat refuge one afternoon, an eye-opener on the effects of ecological damage due to climate and other factors.

In the third week, Amy put me in contact with Felicity Plunkett and Rowan Ricardo Phillips. Felicity sent us both a framework for our reading/interview, a list of topics to discuss, several days in advance. Our event was scheduled on the Sat morning at 11, and I read the title poem from “Daughters of the House”, “Native Trees” and “The Blue Globe”. Rowan was on Zoom from NYC, and there were sixty to seventy people in attendance in the ballroom of the Carrington Hotel that overlooks the town and the mountains. Several came up afterwards to tell me about their ancestors leaving Ireland, a great grand-father left Tuam in 1856, or a father who left Killarney in 1949. Several told me about their experience of the Blue Mountains fires.  

The Blue Mountains Writers Festival was a huge undertaking for the staff at Varuna, and I heard Helen Garner in interview, and Costa Georgiadis, (host of ABC’s Gardening Australia), and attended four sessions each day. My husband Justin was in Katoomba and stayed in the hotel for the Writers Festival and in the days after we attended a film by Damon Gameau followed by a discussion that imagined Australia in 2029.

This is all by way of saying that my stay at Varuna, The Writers House, is an extraordinary experience with diverse and interesting co-residents. The residency has been exciting and rewarding and the Blue Mountains are hard to leave! I am working on poems since my return and I will send a file of new poems in the coming weeks. I hope that my experience will be a source of poems for several years.  

With gratitude for the opportunity.

Catherine Phil MacCarthy

^{We would like to extend our grateful thanks to Veechi Stuart (Varuna)  for her encouragement and support of this opportunity for Irish writers in Varuna.}

Our resident, Adrian Fitz-Simon, writes about his process.

I’ve been writing and recording music since the late 90s under numerous names, my most recent guise being electro-pop producer Mononymous. I use a mix of ‘real’ and electronic instruments and always lots of vocals. For every song I release, I make a video - this has become an interesting part of the process: sometimes the song inspires the visual idea (Wake Me Up); sometimes the video idea inspires the song (Single White Ghost). I direct all the videos which are diverse in style, but there’s always a playfulness.

For Walk This Way I had videoed numerous winter hikes and edited them over a few months, only to replace it all with footage recorded over a weekend during the late snows in March this year.

A lot of the music I record pops into my head as I walk in the Dublin mountains, usually on my own so nobody has to listen to me singing into my phone. One particular hike last winter inspired Walk This Way because I was accompanied by my son Emil who, like me, has inherited my father’s sense of direction - some sort of genetic magnet in our heads that makes it almost impossible to get lost.

We would like to warmly congratulate author and resident, John Collins, on the publication of his new book.

'Kinsale – Light and Time is a unique and stunning photography book featuring the collected and written work of photographer John Collins. Spanning four decades of life in the iconic Irish coastal Cork town of Kinsale, the collection features compelling documentary, landscape and underwater photographs, narrated by engaging personal essays by the author.

John Collins is a photographic artist and writer with varied interests in lens-based practice, including documentary, landscape and underwater. A keen observer of light and life, John learned the craft of photography in commercial, wedding, and portraiture before moving to a career in healthcare. This gave him the flexibility to concentrate on personal projects, including his books Cool Waters/Emerald Seas (2006), Shortcut (2019), Last Orders (2021). John holds a Certificate in Professional Photography (2001) and has read postgraduate programs with the Open College of the Arts. He is an alumnus of the Tyrone Guthrie Centre and recipient of the Arts Council Agility Award.'

By The Lake In May

The rest of the world is not quiet.
The moon is leaning over the lake to scoop us up.
Slow darkness in trees. This could be
our last chance. We undress.
A mismatch of people. Deep breaths
and we douse our hearts in water.
Through the necks of the four swans,
see the windows of the big house lit,
or they could be the lights of a car
shining onto a gathering.

Blacksheet water striders hover
in long circling voyages. It is cold.
The moon huddles in the lush trees,
sprinkles light among the veins
of reeds and shrubberies. Wood pigeons
in dark corridors, birds breathing and weaving
in and out of the halls of leaves.

We talk low with water on our lips,
white space delicate in our minds,
eyes make a solitary bridge.
One swan bows, she is us and we are her.
Our feet sink into mulch as we come out.
Faces in dirty evening-light, chilled air
spreads over the lake, nothing
to dry our bodies with.

_{Thomas Brezing}

_{Title of installation image: The Earth Digests.
Medium: Installation.
Material: old footballs, GAA balls, rugby balls, stuffing (such as old bubble wrap, fabric, newspaper etc.), thread etc.
Dimension: Approx 2.5 x 2.5 x 7 meters.
The Earth Digests will feature in an exhibition by  Thomas Brezing at Ardgillan Castle Gallery, Co. Dublin, 12th August - 3rd September, 2023}

The Tyrone Guthrie Centre is a special place. The welcome and hospitality is something to behold. The staff in the house are so kind and open, sharing their own stories makes the residency personal. As a result of bursaries from the late Fergus Kennedy County Longford Arts Officer, I have been fortunate to spend time at The Tyrone Guthrie Centre on two occasions. Fergus supported my practice over the years, and I am very grateful to him for this.

The opportunity to be given a studio and the time to work, walk, think and talk is a gift. A friend of mine once told me ‘Don’t finish old work...begin something new’. I thought this was good advice so on both occasions I began to develop new work. On my last residency at the Centre I had planned to work on one element of my studio practice, I had all the materials needed and was good to go. Taking a break one day, I began preparing some canvases and hung them on the clothesline to dry quicker. As soon as I put them on the line the wind arrived, and all five canvases began to flap like sails. It was like as if they were going somewhere. Immediately, I ran back to the studio, got some black oil sticks, and began a frantic, automatic, directionless, and totally chaotic series of marks on the canvases as they became alive in the wind. At some stages, they were so high I couldn’t reach them and had to wait until the wind decided to let them return to me. It felt like I was taking notes or a message, not fully sure but I went with it and became totally immersed in the action of the work. There were times when the canvases slowed down, became quieter, moved towards me, suddenly embracing me. I knew then we were both on the same page. The marks made were completely at the behest of the wind, it this was a collaboration or sorts. This work took up the remaining time of my residency and I am still making these Wind Letters today.

On arriving back home, I thought about places to continue this work. Longford is surrounded by a series of large hills, Bri Leith, Sliabh Bán & Corn Hill. They are mythological, archaeological, and historical places that have stories to tell these wind letters could be the start of unravelling this untold history. Something is being said, I just don’t know what it is and because of its asemic nature, the message is unclear, but the journey, action and collaboration is more important.  In May 2023, I had the opportunity to exhibit this work in LA as part of the Woven Fine Grain Exhibition curated by Ciara Hambly of Hambly & Hambly. While in LA, I made new Wind Letters, off grid in the San Gabriel Mountains and the Chino Hills. This experience will stay with me forever. The journey, action and collaboration is the same, but the message may be different. This message is everywhere, as an artist I am just taking notes and it may be up to others to decipher them.

This work will travel to France with Hambly & Hambly in August 2023, where I intend to make more Wind Letters. The exhibition will return to Ireland later this year. My experiences in TGC have been very positive and would hope to return at some other stage.

Text by Gary Robinson

^{Photo of Gary Robinson's Wind Letters hanging on the clothes line in the orchard at The Tyrone Guthrie Centre. Photograph by Thomas Brezing.}

The Board of Directors of The Tyrone Guthrie Centre would like to warmly congratulate our outgoing Director, Dr Éimear O'Connor, who has been appointed to the role of Director of Collections and Access at the National Museum of Ireland. Éimear, who will leave the Centre in the coming weeks, had this to say about her time with us:

"I have thoroughly enjoyed working with the wonderful in-house team, the Board of Directors, the Company members, the residents, and all our external stakeholders and communities, during my time as Director of The Tyrone Guthrie Centre. It is with a mix of sadness, and yet professional anticipation that I leave. We have, together, opened the doors of the Centre to new and returning artists across all communities on the island of Ireland and further afield. I am so proud of our work together, and of our Strategic Vision, and I look forward to following the successes of our resident artists, and of the Centre itself, over the coming years."

The Board of Directors of The Tyrone Guthrie Centre will appoint an Interim Director while arrangements are being made to advertise and interview for the next Director.
 

^{Ariel, Éimear's gorgeous black cat, will also be moving back to Dublin.
She has enjoyed her time living among our residents, and we are sure that she will miss you all as much as
Éimear will miss you. However, we suspect that the mouse population will be very pleased indeed!}