Just one Law, directed by Sonia Bishop - 15-16 Feb

Clyde Inside, by Rock Bottom Saloon - 20-21 Feb

Space Deli: The Musical, by Pay Attention! Collective - 2 March

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All performances in Smock Alley Theatre, Dublin.

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Just One Law - an improv comedy with a live dystopian score.

I will be performing a live improvised score for the show, using any possible number of instruments - who knows what will happen on the night! Possible setup includes synthesiser, electric guitar, low whistle, and a microphone running into effects pedals.

Directed by Sonia Bishop.

15-16 Feb, 18:30. Tickets

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Clyde Inside - in this dark theatrical comedy, a gay couple try to save their relationship through unorthodox means: a DIY porn shoot.

I will be composing and sound designing the show, focusing on synthesiser and dreamwave vibes.

Produced by Rock Bottom Saloon, directed by Ois O'Donoghue.

20-21 Feb, 18:30. Tickets

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Space Deli - a musical set in a deli. In space.

I am a co-composer for the show, composing collaboratively with the cast & crew and musical director Mitch.

I will be performing live as part of the two-person band, using electric guitar & bass, to complement Mitch on keys and synth.

Produced by Pay Attention! Collective.

2 March, 21:30. Tickets

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A comedic show about the artist finding pictures of her feet uploaded to a fetish website, and about women's control over their own images online spaces.

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- Smock Alley Boy's School, as part of Dublin Fringe Festival, 2023.

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I composed two original tracks with writer-performer Gráinne Blumenthal for the play - one conventional show tune-style musical number, and one much more thoughtful and interior moment of repose.

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In addition to these, I recorded a number of vocal soundscapes with Gráinne that I edited together to form fun and lighthearted background sound for a number of scenes - a soundscape of New York City, a train running down the tracks, and a nightclub in Greece. These were super fun and added even more personality to a play that was already full of laughs. I also voice acted for the play.

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Praise for sound design:

"Singing show tunes to the hilt of absurdity, [...] Blumenthal is made for the stage."

- The Irish Times ★★★★

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A climate-focused piece set in a town in Wales set to be decommissioned.

 

- Pleasance, London, 2023

 

My design for the show was rooted in audio of natural soundscapes, with a focus on ever-present water to constantly remind us of the threat of the rising sea in the play. I used audio from mountain streams, rivers, rain, and ocean waves to achieve this. In key moments I created heightened, distorted versions of the audio using reverb, distortion, and filter sweeps to further drive this home.

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In addition to this, I composed some short musical interludes for transitions and the buildup to the climactic scene of the play. These were predominantly quite sparsely composed piano pieces, but I did use other instruments and some light effects to begin to fill out the sound as the tension in the play increased.

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Award-winning ecological gig theatre about industrial fishing and climate collapse.

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- Pleasance Courtyard, as part of Edinburgh Fringe Festival 2022

- VOILA! Festival of European Theatre, London, 2022

- VAULT Festival, London, 2023.

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The cast and crew collaboratively composed a number of original trad/folk songs and live soundscapes for the show. I composed electronic soundscapes for the climax of the show, as well as being the sound tech for the live sound for the performances.

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A Christmas Carol like you've never seen it before: an experience that will have you questioning the meaning of Christmas.

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- Theatre Deli, London, December 2023.

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I composed two original songs for this play. One was a cheesy singalong Christmas tune for the end of the play, with a solo verse for each main character, and a big singalong chorus that we got the audience involved in. Led by guitar, with lots of vocal harmonies by the cast, trombone composed & performed by Elinor Peregrin, and sleigh bells.

 

The second song was a horrifying interruption to the Cratchits' Christmas dinner by a goose that doesn't want to be eaten - very different in tone to the other tune! The main objectives here were to give the performer as much character fun to work with, and as unhinged and comedic a song for the audience to enjoy as possible, whilst still hitting the core beats of animal rights and vegetarian/veganism inherent in the idea.

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An ethereal show about the magpie in Irish mythology with live trad music.

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- The Space Theatre, London, 2023.

 

I composed and played live music for the show, and built upon an electronic playback soundscape that had been composed by designer Richard Durning for an earlier work-in-progress version of the project.

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Instruments included fiddle, harmonium, low whistle, loop pedal, and acoustic guitar. For the playback compositions I used samples of acoustic and trad instruments, predominantly cello, uilleann pipes, and processed woodwinds from Spitfire Labs.

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Praise for live music:

"Accompanied by live music across a wide array of instruments [...] each note fleshing out an atmosphere that is far more intimate than a normal stage performance, as if the audience is crouching over the same campfires that have kept these stories alive for millennia.

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The haunting music always played expertly by Ireland ensures that each scene's emotion is conveyed regardless of what's being said."

- London Pub Theatres - ★★★★1/2

 

"Deftly blends folklore with riveting live music [...] invites us into a multi-sensory dreamscape"

- Fringebiscuit - ★★★★

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"Lovingly told with a luscious musical underscore, Three Things That Are Never Seen is a still and magical piece"

- Everything Theatre

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A short play where a looming breakup slowly dissolves two videogame-obsessed characters' universes.

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- Token, Dublin, as part of Plays Full of SHITE, 2023.

 

For this show, we had 10 hours to create a play in a day from Aoife Meagher's script. I live-scored the piece with a post-rock style electric guitar with heavy reverb and delay. I also used MIDI controlled pads that I heavily processed with distortions and downsampling to echo the characters' retro videogame world, and drive the inevitable sense of aching hollow cataclysm as the play builds.

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A bedroom demo of the composition is recorded below, which was played live underneath the soaringly beautiful dialogue of the characters' universes falling apart.

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An award-winning live cooking performance for our future.

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- The New Theatre, Dublin, as part of Dublin Fringe Festival 2022

- FeastFest, London, 2023.

 

The design for this show included composing a song to play live at the climax of the piece, and gathering recorded audio from the Wicklow Mountains in Ireland to form a soundscape underneath the main body of the show.

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Praise for sound design:

"Ireland beautifully rounds this bite-sized, 30-minute piece with a blessing over the Vegan Salmon of Knowledge before we indulge. Their dulcet melodies are a rich complement to the food, grounding, memorialising, and lending a sense of hope that humankind might find a way through environmental catastrophe after all."

- Fringebiscuit - ★★★★

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