Photo: Ste Murray
Eoghan is an artist working primarily in theatre and opera. He works in Ireland and internationally, on new and established texts, with a focus on innovative interpretations and interdisciplinary collaboration. He is an associate artist with Once Off Productions. Since 2018, he has been associate director for Enda Walsh on productions with Landmark and Irish National Opera and was the associate director with Corn Exchange Theatre Company from 2015 to 2020.
Some of the projects Eoghan is currently developing include a contemporary adaptation of Gregory and Yeats' Kathleen NiHoulihan with Lauren-Shannon Jones supported by the Arts Council and Good Orderly Direction with Lee Coffee and the Axis Theatre. For up to date information check the current section of the website.
Recent directing credits include: about : blank (Civic Theatre/Dublin Theatre Festival 2021), Rescue Annie (Dublin Fringe DUETS/Peacock Theatre, 2021), Theatre For One (and a Little One) (Landmark/Abbey Theatre, 2020), 14 Voices from the Bloodied Field: Michael Feery (Abbey Theatre/GAA, 2020), Bodies of Water (Dublin Fringe Festival, 2019), Midsummer (Project Arts Centre, 2019), Theatre For One (Cork Midsummer Festival, 2019), INFINITY (Dublin Fringe Festival and Tour, 2018/19), Panned (Project Arts Centre, 2018), Nora (Dublin Theatre Festival, 2017),This Lime Tree Bower (Project Arts Centre/Irish Tour, 2016), The Boyz of Harcourt Street (Smock Alley Theatre, 2016), The Matador (Bewleys Café Theatre, 2015), Panned (Theatre Upstairs, 2015), The Ugly One (The Lir, 2014).
In 2020/21 he was a participant on the Pan Pan International Mentorship Programme under the mentorship of Terry O'Connor during which begin the development of a text called A History of Multiplying. The piece, which was completed during and Arts Council Bursary Award, was be published in the Belfielf Literary Review Issue 2.
A selection of credits as a lighting designer include Northern Lights (Theatre Upstairs, 2018), Panned (Project Arts Centre, 2018) George Bush and Children (Project Arts Centre, 2017), The Man in Two Pieces, Hollow Ground (Theatre Upstairs, 2015), Leper+Chip (Theatre Upstairs/international tour 2014/15) and Stella Full of Storms (Theatre Upstairs/Irish tour, 2014/15).
As a dramaturg, Eoghan worked with the Abbey Theatre's New Work Department, Rough Magic Theatre Company, Dramaturgy Network Ireland and has also donated dramaturgical time the UK-based organisation Burn Bright. Production credits include: Kiss Kiss Slap Slap (Chaos Factory/Dublin Fringe Festival, 2018), INFINITY (Dublin Fringe, 2018) with Nessa Matthews, Owen Wingrave (Opera nátional de Paris, 2016) directed by Tom Creed.
As an associate director, he is currently working with Enda Walsh and Landmark Productions on Medicine for GIAF 2021. Most recently Eoghan worked with Tom Creed on Donnacha Dennehy's The Hunger (Abbey Theatre) and Antonio Lucio Vivaldi's Griselda (INO Irish Tour) and Enda Walsh and INO on Bluebeard's Castle (Dublin Theatre Festival) and Landmark/INO production of The Second Violinist (Galway International Arts Festival/DTF). He has also worked on productions produced by Opera Theatre Company and the Royal Irish Academy of Music; with Corn Exchange Theatre Company productions between 2012-15; and with Abbey Theatre on Shibboleth (Peacock Theatre, 2015).
Eoghan has received multiple awards from the Arts Council of Ireland toward the development of his practise as an artist and the creation of his work. He has been on the steering group of the National Campaign for the Arts since 2016 and is a member of IETM, Theatre Forum, and Dramaturgs’ Network Ireland. He has a B.A. International (Honours) in Drama and English from UCD and an MFA (Distinction) in Theatre Directing from The Lir, National Academy of Dramatic Art. Eoghan is an Adjunct Teaching Fellow in Trinity College Dublin’s School of Creative Arts and The Lir, National Academy of Dramatic Art.
PRESS / AWARDS
“at the intersection of feminism, climate change and visual-arts…it’s a sly meditation on all we leave behind.” The Irish Times
“ Hugely intricate show and a beautiful and moving look at grief and the unknowable” Dublin City FM
“This is a play that dances the line between what is real and what is fiction.[...Kavanagh] plays the part with the tenderness of a lover who was left behind and never got the answers she deserved.” Nomoreworkhorse
Nominated for the Best Design Award (Dublin Fringe Festival, 2019): “For work that encompasses outstanding lighting, sound, scenic, projection, costume and overall design”
"an urgent antidote to watching the world through the mediation of a small screen [...] they create an exhilarating sense of aliveness." ***** The Guardian
It's uncomfortable and affecting. As it's designed to be. [...] it's a winner" ***** Irish Examiner
"Eoghan Carrick [...makes] the plays feel as immediate as a song. [...] If Theatre for One ever returns, it will be worth the wait for such transfixing experiences" ***** Irish Times
Nominated for the 2020 Irish Times Theatre Best Ensemble Award
"Its quietly spectacular...As directed by Eoghan Carrick, Infinity's - and therefore Matthews' - gentle force is to be reckoned with... the piece is a triumph on all levels." ***** Cindy Marcolina, Broadway World
"remarkable. The sense of urgency is potent throughout and the circular motion of the piece leaves a heavily satisfying feeling." ***** Amy Toledano, WithinHerWords.co.uk
"spectacular, witty, fascinating and captivating... In short, Infinity is exceptional." Emma Plotkin, Fringe Reviews Must See Show
"a Beautiful exploration...layered in metaphor and complemented by an excellent balance of dialogue, recordings and silence." **** Lizzie Bell, Fringe Guru
"Eoghan Carrick directs with plenty of tech style, but keeps the show's heart to the fore.” Katy Hayes, The Independent
“outstanding, […]a heart-rending portrayal of depression" The Reviews Hub
Winner of the First Forthnight Award (Dublin Fringe Festival, 2018): “For work that challenges stigma and prejudice about mental health”
Winner of the Best Design Award (Dublin Fringe Festival, 2018): “For work that encompasses outstanding lighting, sound, scenic, projection, costume and overall design”
Nomination for the Best Performer Award (Dublin Fringe Festival, 2018)
"This beguiling little show is dark from the get-go...Panned is perfectly timed with no excess or superfluous extras added on. It has that rare but perfect balance of raw performance and polished production." David Keane, The Reviews Hub ****1/2 (2015)
"Eoghan Carrick directs this mini rollercoaster with ease and assurance, establishing a solid and steady pace [...and his] lighting design does little, but does it to explosive effect." Chris O'Rourke, The Arts Review **** (2018)
"Relentless in its intensity and Murray’s speed of delivery, it leaves one feeling bludgeoned. Clearly this is in keeping with Daly’s writing and director Eoghan Carrick’s intentions [..] we feel punch-drunk." NoMoreWorkHorse.com (2018)
"In the hands of a lesser director this show could have been a real mess but under the watchful eye of Eoghan Carrick this production hits that second star on the right and flies all the way till morning" A Pint of Bainne (2015)
"Panned is one of those productions that should be seen by everyone without any exception. A deeply touching, funny and sad at the same time, astonishing piece of theatre." Unforgettable Lines (2015)
"Carrick’s direction provide the audience with moments of intense discomfort that are eminently satisfying. There is a constant tension to this piece, ensuring that these gut-wrenching moments can be felt like a frisson across the audience." Ciara L. Murphy, The Reviews Hub ****1/2
"It is directed by Eoghan Carrick as a Bergmanesque battle of wills and souls." Helen Meany, The Guardian
"Eoghan Carrick directs with clarity of purpose and his judgment ... is perfect" Katy Hayes, Irish Independent
"Performed on a sleek, modernist set, the drama builds slowly with simmering sexual tension and a handful of truly shocking moments [... It] feels like a valuable work of art in its own right." Andrew Lynch, Sunday Business Post ****
"Three mesmerizing actors and Eoghan Carrick’s innovative direction bring this marvelous tale by one of Ireland’s greatest living playwrights to life.” Sophia Leuner, Playstosee.com ****
"Directed by Eoghan Carrick, this show is as small but perfectly formed as the play itself." The Sunday Business Post ****
"Eoghan Carrick’s representation of McPherson’s This Lime Tree Bower is beautifully simplistic, complimenting McPherson’s understated writing while bringing his own subtle personal take on the story to the fore.” Catherine Kennedy, Pure M ****
"Eoghan Carrick directs with such subtle assurance The Lime Tree Bower feels imbued with an overwhelming sense of immediacy, with his remarkable cast appearing to excavate memories in real time right before your eyes." The Art Review ****
"Under Eoghan Carrick’s direction, O’Reilly brings more than enough magnetism, variety and energy to his tragicomic fable" Mick Heaney, Irish Times
"The script is well written and brilliantly delivered by O’Reilly with incredibly poignant comments on the nature of farming, family and rural Ireland. His performance is enhanced by tight direction from Eoghan Carrick." Padraigín ní Dona, Meg.ie
"The Matador is [...] subtle in exploring the emotional and physical relationship between man and beast, and there is no hollow triumphalism in the victory of one over the other." Liam Harrison, The Reviews Hub ****
"Setting is minimal but the subtle lighting design by Eoghan Carrick (who also directs) and O’Reilly’s powerfully concentrated performance ensure that it requires nothing more.” nomoreworkhorse.com
"Eoghan Carrick, who also directs, turns the [gold] backdrop from riches to blood with an impressive lighting design, and Shane O'Reilly's performance keeps our focus away from the bare stage" Eithne Shortall, The Sunday Times
Nomination for the Bewley's Cafe Theatre 'Little Gem' Award (Dublin Fringe Festival, 2015): for the most exciting show less than an hour long
"Eoghan Carrick’s lighting design deserves a special mention for this effect, which palpably intensifies Karl Shiels’ stylish, highly physical direction. " Billy Barrett, The Scotsman
"The set and lighting design (Eoghan Carrick) ...exudes as much energy as the characters’s onstage." Ciara Murphy, The Reviews Hub
"Eoghan Carrick's lighting design, of a white box fringed with bulbs evoking both the boxing ring and a kind of post-modern vaudevillian stage, channels the actors' energy to a furnace-like degree. With every resounding “smack!” the lights flash mimicking the flash of light accompanying a blow to the head; a piece of theatrical overkill which works for a script which is nothing but a captivating piece of overkill from the exuberantly, self-celebratory word go." John McKeown, The Independent
"This fast paced new play will grab your attention from the moment you walk in the door as brilliant white walls come together with exposed bulbs to create immediate intensity in the production. This visual treat, that has once more transformed the Theatre Upstairs stage, was created by Eoghan Carrick and it a great example of the brilliance that can happen in such a small space." Katie-Ann McDonough, Meg.ie
"No word is repeated more than “Smack!”, yelped each time by Keating and Clarke Stewart in stereo, as Eoghan Carrick’s lighting effect packs a punch." Peter Crawley, The Irish Times
Nomination for Broadway Baby Best Production Award (Edinburgh Fringe Festival, 2015)
Nomination for NSDA Best Production Award (Edinburgh Fringe Festival, 2015)