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About me

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

Claiming space on stage with live physical presence is a powerful social and political statement. It is a powerful tool. There’s an ecosystem-wide catastrophe happening before our eyes, caused by the systems of late capitalism and corporate & nation-state imperialism. Those who have done nothing to cause it are being affected first. Those who bear the most responsibility barely feel it.

 

How might an audience member’s complicity in these systems be interrogated within a performance? How might these techniques or frameworks draw attention to culpability in the actions of a wider society? How might we bring eyes, empathy, and resources to the people and communities that resist these systems or live outside them? How might we open the floor for action? The only reason left to write is to change the world.

 

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.

James Ireland image headshot

 

 

Recent writing for theatre

Rajesh and Naresh, (Summerhall, Ed Fringe Festival, 2021 digital performance; 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.