This years Grand Marshal for the 2010 St Patricks Parade in Dublin has been announced and it’s Packie Bonner. The former Republic of Ireland goalkeeper is a national hero for his save in the penalty shootout against Romania during Italia 90. I think we can say the parade is in a safe pair of hands this year (oh God did I really just say that?)

Or: Cold feet on the red carpet.

Here’s a fact: Chuck Taylors with leaky soles are not the right footwear for the red carpet. Especially when it’s around 2 degrees Celsius and icy rain is lashing down. And even more so when you are supposed to stay on the carpet, armed with an umbrella to escort all stars and VIPs into the cinema. And some will come late. Very late.

But I will not complain too much, because it was the official Jameson Gala Night at Lighthouse Cinema, and we were welcoming actors Patricia Clarkson and Doctor Bashir from Deep Space Nine errr Alexander Siddig. Fittingly the featured movie in which both are starring was Cairo Time, a drama set in sunny, hot Cairo. The best contrast possible to miserable Dublin on a February evening.

Volunteering on the red carpet wasn’t that bad as I said, most people really liked the fact that two handsome boys (me and fellow volunteer @paddy2K ) were doing their best to protect them from the rain. At least for the 4 meters from the beginning of the red carpet to the entrance of the cinema. What it looked like after people entered the cinema can be seen on JDIFF TV. And hell, there were even some (2, actually) autograph hunters lining the red carpet. Ah, the glamour of a film festival. Did I mention the fact that I did not feel my feet for the rest of the evening?

Here are some impressions, courtesy of entertainment.ie. You can actually make out two green Jameson-umbrellas in the back.

Or: hard times bring out the best in people. And volunteers.

Volunteers are at their best when they become real grunts. Imagine: a cinema full of people who are enthusiastic about the movie they’ve just watched and don’t want to leave, a Q&A-session with the same people and the director from Spain, the need to get all these people (plus the director) out in under 2 minutes, and the need to clean the whole cinema in under 1 minute. And then imagine 200 unhappy people (including a Latvian director and his whole family) queing outside said cinema because the movie they want to enjoy was supposed to start 10 minutes ago. But JDIFF-volunteers are tough cookies. We’ll get the people out, clean the cinema and shoo the people in, all while ripping of tickets, handing out audience award ballots, helping elderly ladies and babies and smiling and saying “enjoy the film!” – while we are thinking “GUNG-HO! GUNG-HO!”.

But after all the madness has ebbed away and the gun smoke is gone, I always appreciate the fact that our great venue captains (brilliant people all of them, whatever the venue) allow volunteers to sneak in and watch a movie in between shifts. Like this I was able to watch the surprisingly good German movie “Same Same but Different” – based on a real-life story of a German backpacker falling in love with a prostitute from Cambodia. Well worth a look, therefore I hope it will be shown in Irish cinemas after the initial festival run.

Here’s one of the songs from the Soundtrack, “Heaven can wait” by Charlotte Gainsbourge & Beck with scenes from the movie:

There are two great things about volunteering for the JDIFF. The first thing is that you are virtually in the middle of things. One the one hand you are not really “working” (as you are not paid) for the festival, and do not have the responsibilites of all the volunteer captains, box office people and production managers -so there’s plenty of things to see and do in between your shifts. For example to see how tiny Colin Farrell is in real life (and I did not even had to wear a tie to be at the opening gala) And on the other hand you are not a visitor and member of the audience, so you do represent the festival and are involved in the realisation of the festival, which mosty takes place in dirty basemenst or boring break rooms without much glamour. Brilliant.

The second thing for me is the discovery of new films. I’m not that much of a film buff myself, but I’m always surprised of the quality of movies shown at the festival. And even though I have my main picks, I always discover new movies when on shift or through recommendations from other volunteers. My first discovery this year is the opening film of the festival, Neil Jordan’s Ondine.

Not that I expected the opening movie to be a total blackout, but the last Neil Jordan movie I watched must have been Michael Collins – so I was a bit unsure about the whole mermaid/fairy tale-story of the movie. But even as the unromatic naysayer that I am I have to confess I loved the movie. It thoughtfully plays with the whole idea of a real-life fairy tale, without ever becoming fantastic or supernatural – and the great cast, above all the brilliant Alison Barry makes the film really enjoyable. Plus, a movie that was scored by Kjartan Sveinsson of Sigur Ros and that features songs by Lisa Hannigan can’t be bad, can it?

I’m happy to post this guest article written by my friend, Melanie. Melanie has many years of experience in the arts and particularly in acting and she offers unique insight into the Dublin theatre scene.

Tom Creed, originally from Cork, has been living and working as a freelance theatre director in Dublin since 2006. Well known in the theatre community as a young and prodigious talent, his work is at once prolific and varied. Beginning his theatre work in Cork, he then trained with Rough Magic’s SEEDS programme, which seeks to identify and develop young theatrical talent. He got what he calls the ‘golden ticket’; he was made an Associate Director of the company, which allows him to work under their well established banner as well as pursuing some of his own work.

His latest departure is Una Santa Oscura, a theatrical staging of the music of Ian Wilson, inspired by the life of 12th century Christian visionary Hildegard of Bingen. Presented at the Project Arts Centre in Dublin’s Temple Bar, Tom is adamant that there’ll be no nuns on stage! Rather it’s an interpretation of a cloistered day interrupted by ecstatic visions, brought to life in a contemporary apartment setting and performed by a single musician, violinist Ioana Pectu-Colan. Although he wouldn’t call himself religious, Tom is intrigued by the collision of the sacred and profane and found himself fascinated by the life of this extraordinary proto-feminist, fundamentalist Christian nun who was famed in her own lifetime as a composer of hymns, expositor of theology and receiver of visions.

While many young creatives veer straight towards the apparent glitz and glam of film and TV, Tom Creed was drawn to the theatre for the pure ‘liveness’ of it. ‘It’s useful,’ he says, ‘it’s good to be made to imagine things. It helps us to think.’ His influences are wide and far reaching, including the visual arts and ‘dead Russian people’ but he is interested in psychology and substance. His great passion is creating theatre for the 21st century and while this show will be heavy on the use of the digital arts, he doesn’t feel that multimedia is always necessary to be cutting edge or contemporary.

Life in Dublin for the director revolves around the Project Arts Centre, which despite a radical cut in funding from the Arts Council recently (‘disproportionate’ according to Tom), continues to be a hub of a lively, creative community. Certainly, the day I popped in to interview Tom, there was at least five notable theatre makers at laptops using the foyer as a makeshift office. ‘It’s a home for emerging and established practitioners and [the work it does] is invaluable.’

The Project Arts Centre, as well as many other established arts practitioners and venues, has felt the cold, hard reality of recession lately. I asked Tom whether he was personally affected by the rough winds of change. ‘I feel quite alive at the moment,’ he responded, shrugging his shoulders ‘and it doesn’t feel like people are stopping and it feels like people are having to be resourceful.’ And to the perennial question of whether theatre can survive at all, Tom gives a snort of derision. ‘Audiences are coming to see work. There’s a need for it among people and it’s an opportunity to bring people together. And it’s not very expensive. Times like this give artists an opportunity to reaffirm what they’re there for.’

(Una Santa Oscura by Ian Wilson, directed by Tom Creed, design by Ciaran O’Melia runs at Project Arts Centre, Theatre Upstairs from the 4th to the 6th of March 2010.)

Melanie Clark Pullen is an actor and writer living in Ireland. She lives by the sea with her husband and daughter and ekes out a living from the arts. She’s passionate about theatre, film, literature, creativity, spirituality and long evenings spent with good friends over food and a nice Chilean Merlot.

In my opinion, one of the most interesting events that is currently happening in Dublin city is this monthly themed night of music, spoken word and performance: The Brown Bread Mixtape. Happening upstairs at the Stag’s Head is an evening full of great entertainment, prose, poems, song, laughter, fun and the odd Swedish pop song. MC’s, chief organisators and jacks-of-all-trades Kalle and Enda present a hand-picked array of artists, and are spicing it up with their own performances in between.

Dublinblog sent some questions their way, and here’s what the two main men had to say:

Tell us sth. about yourselves and how you came to organise the Brown Bread Mixtape:

Kalle: Well, I lived in New York City for about 7 years where I dabbled a bit in comedy and music. I had some poems published by Lilies & Cannonballs Review, which led to me performing poems at their launch events. They were pretty successful and I really enjoyed the energy of performance poetry. When I moved back to Ireland I was looking for something similar. Enda and myself had known each other a while and had been chatting about doing some kind of an event or gig that captured all of our interests (music, poetry, comedy, theatre). We put our heads together and came up with the brownbread mixtape!

Enda: I’m a session musician and a sound engineer. We are a couple of dudes who had a random idea, and a free night in a pub to try it out…

What is the story about theme for each evening? Why not have the artists decide for themselves what to perform?

Kalle: Because it was going to be a mixtape of different types of acts, we knew we needed something to tie the night together. So that was where the theme idea came in. We really liked the idea that each new brownbread mixtape was about a specific topic, rather than a standard gig or open mic which is more open-ended. But more importantly it gave us the opportunity to create a full show centred around the theme. We wanted to create a fully realised night of entertainment, like an old style revue show, where the audience was guided by an MC through a showcase of the best spoken word and music artists currently working. So, on any given month, once we’ve decided on the theme, we inform the artists we have booked to perform so they can prepare thematic material for the night. Also, for each new theme, Enda and myself will prepare an opening singalong segment for the audience to get them in the mood. I will usually write a new poem or two related to the theme as well as a bunch of sketches for our resident actors, the brownbread players, to perform. So, to answer your question, the theme is there to generate ideas for us all and the artists actually do have a lot of leeway in terms of choosing what they perform, we just ask that they perform at least one piece directly related to the theme of the night.

Enda: We call the theme, we set the stage, the performers take the mic(k)

Why upstairs at the Stag’s Head? Are there any plans to change venue?

Kalle: The folks at The Stag’s Head were incredibly polite, professional and simply willing to take a chance on us. We have a great relationship with them now. The upstairs of The Stag’s Head is a lovely room and when it is full on a brownbread mixtape night it has a terrific energy. It’s also one of the most iconic pubs in Dublin, which must make it one of the most iconic in the world! We don’t really want to move right now.

Enda: eh… yea what Kalle said

Do you think the web an advantage for artists, especially for people without record deal or published books?

Kalle: I think the web is hugely important for what we do. In fact all of our advertising and promotion is done on the web and by word of mouth. Sites like facebook and myspace are not necessarily my favourite thing in the world, but they are an incredibly rapid and powerful way to communicate with likeminded people, as well as being a brilliant way to network with performers for future shows. It also affords us the opportunity to showcase the brownbread mixtape gigs online for our friends and family outside of Dublin and Ireland. We are planning on setting up a webcast of future gigs, so the web will play a pretty integral role in the show down the line. If our web presence allows the artists who have performed at the brownbread mixtape to publish work or get a record deal, then that would be an incredibly huge honour and we would be thrilled that we played any small part in that

Enda: We give the performers a complimentary recording of their set, and ask them to choose one of the tracks for our facebook and myspace jukeboxes, which we showcase until the next gig. It’s a way of paying the performers, but most importantly they can use the recordings on their own webpage to promote themselves.

Where can we find more information about the mixtape?

Kalle: If you want more information about the mixtape, then point your browser here for our myspace page to sample audio of previous performers, or alternatively you can read reviews and find out about upcoming shows at our blog right here. If you wish to become a fan of ours then we have a regularly updated facebook page and the obligatory twitter page.

Enda: We’re on the Internet!

And, is there anything the world needs to know about you

Kalle: Most of all we want people to know that the brownbread mixtape is just great fun. And like all fun things it has to be a little mad and a little beyond your control.

So, we have to keep reminding ourselves that it’s the challenge of the theme, the openness to try out new ideas, the collaboration between ourselves and all the artists, and the audience for that matter, that makes brownbread greater than the sum of its parts.

Enda: Yep, what Kalle said…actually, i want to say also that the performers we’ve had so far have been amazing; they’ve either written material specifically for the gig, or creatively shoehorned their own material to fit the theme… as Kalle would say, “that’s some serious talent” (and i don’t mean that as in Kalle’s checking them out like he fancies them)

Kalle: I’ve heard it said that the recession brings about great art. Based on what I have seen it’s true. There’s a real buzz happening in Dublin at the moment and we’d like to think that the brownbread mixtape is right at the heart of that. Don’t take it from me, come along this month and see for yourself!

Enda: It’s FREE!

To sum it all up: it’s free, it’s great fun, and some incredible art is created there. The next mixtape takes place on February 24th. Be there.

There is a fan page on Facebook called Secret Dublin. Secret Dublin aims to provide a forum for Dubliners to share their insights on places and talent in Dublin to discover “hidden gems”. The idea is romantic, but sadly a short peruse of the page shows few suggestions. With this in mind, I am going to share my little bit of Secret Dublin I happened to stumble across two months ago.

Weeks and weeks ago, my French friend, Maryline, told me of an evening called Milk & Cookie Stories.

“It is a group of people that come together to tell stories and have cookies,” she explained. She described the event as if it were common place.

“What has cookies got to do with stories?” I asked in puzzlement.

“I don’t know, replied my friend. “It’s just what they do.”

“How much is it?”

“It is free.”

I was suspicious. I gave the first two events a wide berth by politely declining an invite. Then came a funny phase of mine; I realised I needed to be more open to new things and new people. When Maryline reminded me yet another Milk & Cookie Stories evening approached, I agreed to attend. I remained sceptical, but reminded myself of the new things and new people I craved.

On a wet Tuesday evening Maryline and I made our way to the Dublin Exchange, Temple Bar. We arrived to be greeted by friendly faces, most of whom –  I guessed – were students. We were early. Rows of seats and large cushions on the floor remained vacant. Across the open plan room were tables bearing baskets of biscuits. We were offered tea and helped ourselves to the fare on offer.

When I asked one of the organisers about the evening, I was told that it was an open mic evening where attendants were invited to share a story. The story could be anything from a lament to a personal experience. An emphasis was placed on first timers. Anyone interested in spinning a yarn was invited to put their name on the list. They would be called up when their moment came.

My friend and I warmed ourselves next to a solitary radiator in a remote corner of the gallery. We watched as the number of attendants slowly and steadily increased. We were both taken aback by the friendly atmosphere. I was introduced to a considerable number of people. I noted how simple it was to strike up conversation with relative strangers. My thoughts were suddenly interrupted.

“We will be starting in around five minutes,” a girl named Sarah announced to the eighty or so people gathered. This prompted a hush to descend on the room.

The first story teller was called up. He received a supportive applause from the congregation. He told his story. Following another round of applause, the next story teller was called. The most memorable performances from the evening were a recital of Arabian Nights, an Hungarian folktale and a Celtic myth. The featured performer of the evening – whose name has unfortunately slipped my mind – told a personal story that was both moving and humorous.

I went again last Tuesday and had an equally enjoyable experience. The featured performer, Clare Murphy, told two Irish stories and a Nigerian tale. Her performance was uniquely engaging and animated. Clare drew loud laughs and planted ideas in our minds. I would gladly have listened to her for hours had I the chance. Clare embodies the skill and art of storytelling that Milk & Cookie Stories strives to promote.

Milk & Cookies Stories meets on the first/second Tuesday of every month at Dublin Exchange, Temple Bar. The atmosphere is friendly, the stories are entertaining and the cookies are tasty. The event is free, but the organisers do encourage attendants to make a small donation when the “cookie jar” is passed around.  Should you find yourself available from six o’clock Tuesday, 9^th February, you should come along.

What’s the worst that can happen? You enjoy a unique experience and open your mind to some new ideas? Come along, it’s a great evening.

Yes, it is that time of the year again. Like last year, I’m planning to entertain you with my adventures as a volunteer for the Jameson Dublin International Film Festival. The Festival officially opens on February 18th; so from then on you’ll get regular updates on what it’s like to rip of tickets, collect sticky rubbish from under cinema chairs and meeting the occasional celebrity, all while serving in one of the many venues of the festival. Plus also try to provide some insight on this rare occasion that World Cinema and Hollywood make a stopover in Dublin.

Whereas last year’s motto was “finding favourite films”, this year the festival seems even more diverse with spotlights on Korean, Russian and of course Irish cinema. And it is officially dedicated to one of it’s founders, Michael Dwyer, who passed away recently.

Among my personal picks this year are:

City of Live and Death - a Chinese movie about the so called “Rape of Nanking” in the Sino-Japanese war in 1937, directed by Lu Chuan. Warning: graphic images in the trailer!

Capitalism – a love story – Michael Moore’s inimitable look on capitalism and world economy.

Same Same but different – German director Detlev Buck tells the story of a German backpacker who falls in love with a Cambodian prostitute.

And last but by no means least: Valhalla Rising – Nicholas Winding Refn’s (Bronson) grimy Viking movie:

Please stay tuned for more movie madness on this channel errr blog.

Last week, Universal Pictures Ireland invited some of your favourite bloggers to attend a screening of the 1941-movie-classic The Wolfman at the private Denzille cinema ; a promotion event for their upcoming remake of the same movie featuring Benicio Del Toro.

Even though I’m not a big film buff, I did enjoy watching such an “old” movie on the big screen. Especially when comparing the cinematic techniques then and now: where most movies today are not so much about camera angles and facial expressions but more about blowing things up and animate blue-skinned aliens with computers, the classic movies of the 30ies and 40ies had to transport their story with much more detail. No wonder people like Lon Chaney became big stars wearing outfits that by today’s standards can only be called ridiculous – their audience had nothing to compare it with except their imagination.

So I’m really looking forward to see the remake, officially released to Dublin cinemas on February 12th. But as Benicio Del Toro is not only starring but also acting as producer, and the film also stars Sir Anthony Hopkins I have high hopes that it will do justice to the original. Here’s a glimpse:

A big thank you to the folks at Universal Pictures and Simply Zesty for a great evening.

Be sure to have a look at this year’s Temple Bar Trad Fest programme lineup if you haven’t already. Looks to be another great festival (27th-31st January). While you’re having a look around the site, be sure to check out the food trail. It’s certainly an enticing way to get people down to Temple Bar for the festivities. (Excuse me while I wipe the drool off my keyboard.) What better way to spend a cold, dark, wintery evening than in a pub taking in some phenomenal Irish music!

Here’s a ‘food trail’ sample:

While we’re on the subject, I’ll leave you with my personal favourite trad sessions in Dublin.

The Wishing Well: Every Monday night, a group of friends gather together in the small, dimly lit back room of The Wishing Well pub in Blackrock to put on a jaw-dropping performance. As you look on and drink your pint at one of the small round tables, you realize that this group of 5-12 (depending on the night) would be here playing to their hearts’ content, even if there were no audience. Which is what makes this session the real deal.

Johnny Foxes: While Johnny Foxe’s is another legendary (if not uber-touristy) option, it never fails to be another great night of entertainment. There’s something going on there just about every night of the week. Despite it’s reputation for marketing itself to the tourist masses (as the coaches in the car park testify to), you’ll usually also encounter plenty of locals from Bray or Enniskerry and the surrounding areas.

Another good trad session that I can personally recommend is The Palace Bar on Thursday and Saturday nights. In the last couple of years they’ve re-modeled the upstairs to give it that old-world feel and improve the acoustics. I’m sure this classic, historic pub on the edge of Temple Bar will feature quite a bit in the Trad Festival lineup.

If you can recommend other trad music experiences in and around Dublin, feel free to spread the love in the comments below! Stories and feedback of your Trad Festival encounters will also be appreciated.