Photo: Ste Murray

Eoghan is a freelance director, lighting designer and dramaturg. In 2015, he was made an Associate Director with Corn Exchange Theatre Company and, in 2018, Associate Director on Landmark/Irish National Opera's production of The Second Violinist.

Recently, Eoghan co-created an exhibition and performance called Bodies of Water for the Dublin Fringe Festival 2019 which was nominated for the Dublin Fringe Best Design Award. Eoghan is developing Good Orderly Direction with Lee Coffey, Memento Murray with Ste Murray and Belly with Caitriona Daly. In January, he will direct for The 24 Hour Plays: Dublin in the Abbey Theatre in aid of Dublin Youth Theatre.


Recent directing credits include: Bodies of Water (Dublin Fringe Festival, 2019), Midsummer (a play with songs) (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).

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 on Kiss Kiss Slap Slap (Dublin Fringe Festival, 2018) with Chaos Factory, Owen Wingrave (Opera nátional de Paris, 2016) directed by Tom Creed, Infinity (Dublin Fringe, 2018) with Nessa Matthews and the Abbey Theatre's New Work Department in Ireland.

As an associate and assistant director, he has most with Tom Creed on Donnacha Dennehy's The Hunger (Abbey Theatre) and Antonio Lucio Vivaldi's Griselda (INO Irish Tour) and recently worked with 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 number of opera productions staged by Opera Theatre Company and the Royal Irish Academy of Music; with Corn Exchange Theatre Company on a number of productions since 2012; and with Abbey Theatre on Shibboleth (Peacock Theatre, 2015). 


Eoghan has a B.A. International (Honours) in Drama and English from UCD and an MFA (Distinction) in Theatre Directing from The Lir Academy at Trinity College Dublin. In 2018, Eoghan was awarded an Irish Arts Council Theatre Bursary toward his development in opera direction. Eoghan is on the steering group of the National Campaign for the Arts, a member of Theatre Forum and a member of the Irish Society of Stage and Screen Designers.




“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


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)

"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,


"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


"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." (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, ****

"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 ****



Nomination for the Bewley's Cafe Theatre 'Little Gem' Award (Dublin Fringe Festival, 2015): for the most exciting show less than an hour long


"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,


"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.”​


"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 Broadway Baby Best Production Award (Edinburgh Fringe Festival, 2015)

Nomination for NSDA Best Production Award (Edinburgh Fringe Festival, 2015)

"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,


"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




"McCann's play is a powerful piece of work, absolutely credible and masterfully constructed, with remarkable performances from the author as Hazel, and Rex Ryan as Graham. They are tautly, indeed superbly directed by Karl Shiels, in a terrific set by Laura Honan, lit with pitiless effect by Eoghan Carrick." Emer O'Kelly, Sunday Independent



"The lights add to the overall feeling, Eoghan Carrick once again using different angles to cast shadows over the bright setting, with impeccably timed, and smooth, transitions." Alan Foran, The Red Curtain Review


"It is staged well and is extremely atmospheric thanks to clever use of sound and light." Francis Winston, Le Cool Dublin


 "...beautifully lit by Eoghan Carrick.” Emer O'Kelly, Sunday Independent




"Carrick, following Thompson’s direction, cleverly manipulates the setting’s various angles to create a play almost entirely devoid of light, where fear is ever present and dreams slowly turn into nightmares." Monica Insigna, The Reviews Hub



 "...atmospheric lighting from Eoghan Carrick to re-produce the sense of an Elizabethan playhouse." Emer O’Kelly, Sunday Independent


"Aoife Fealy's set design of test tubes and multicoloured potions is suitably atmospheric and Eoghan Carrick's histrionic lighting completes the effect." Eithne Shortall, The Sunday Times


"…intensely atmospheric lighting sets the eerie tone." Gillian Greer, The Reviews Hub


"...impressive lighting by Eoghan Carrick." Emer O'Kelly, Sunday Independent

© Eoghan Carrick | Dublin, Ireland |