James Ireland

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My Lover was a Salmon in the Climate Apocalypse

Postponed: VAULT Festival, London, 2022

Photography by Rory Gradon and Kate Bauer 

About me


I am a gender nonconforming playwright/theatremaker (they/them) based in London and Dublin. I recently graduated from the MA Writing programme at the RCA (London), where I researched actionable allyship in theatre producing.

A little bit about my practice

There’s an ecosystem-wide catastrophe happening before our eyes, caused by the systems of late capitalism, and corporate & nation-state imperialism.

I am always thinking about how an audience member’s complicity in these systems can be interrogated by (and within) a performance. How might we bring eyes, empathy, and resources to people and communities that resist these systems or live outside them? How might we use live performance & events to open the floor for action?


As a gender nonconforming writer, I write as a voice from the trans* and Queer community. As someone who’s lived in Ireland a lot of my life (and has also benefitted from living in England), I write against colonialism and cultural genocide. I write as someone young enough to know the climate crisis has taken my future. 


The only reason to write is to change the world.

James Ireland image headshot



Recent writing for theatre

My Lover was a Salmon in the Climate Apocalypse (VAULT Festival, London, 2022); Rajesh and Naresh, (VAULT Festival, London, 2022; Summerhall, Ed Fringe Festival, 2021 (digital performance); Unity Theatre, Homotopia Festival, Liverpool, 2021; Theatre Deli, London, 2019); Show Me Your Wallets, (work-in-progress staging, Smock Alley Theatre Dublin, Scene + Heard Festival, 2020); Mother Catfish, (work-in-progress staging, The Arcola, Act II Festival, 2019); The Elephant (Fringe Arts Bath, 2017); Mercury, and Fireplay (The New Theatre Dublin, 2016 & 2015 respectively).

Short plays include: Lobster Emoji (as part of The Emoji Project, Hen & Chickens Theatre, Camden Fringe, 2021); Cáithnín, and Oxygen (published by Fishamble, 2021 and 2020 respectively); David Beckham’s Hair (Pleasance London, 2018; The Printing House Dublin, 2015); FEAT. (co-writer, The Players Theatre Dublin, 2018); Sheep (Edinburgh Fringe 2016); and a number of site-specific performance pieces for ŠITE Productions (London, various locations, 2019-20).

Critical writing on theatre appears in ARC Magazine and Rant + Rave.