Page 140 - Gonzaga at 60
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Andrew Nolan, class of Our inal year producion at Gonzaga changed everything. I’d dabbled in acing before, including a
2001, a recent graduate speaking role in the ith year opera the previous year, but I’d never taken it very seriously. I’ve always
of the London academy of been passionate about ilm, but it had never occurred to me that there could be a any viable career
Music and Dramatic Art
(LAMDA) for me in the medium and certainly not acing. But then Michael Bevan cast me in the key role of
Reverend Hale in Arthur Miller’s The Crucible, planing an idea in my head that has taken me to where
I am now: in London trying to grind out an acing career for myself as a recent graduate of the London
Academy of Music and Dramaic Art (LAMDA), one of the world’s leading drama schools. That’s not to
say I was paricularly outstanding in The Crucible. I’ve watched the recording we made a number of
imes and plan to have it locked away in a Swiss vault in case I ever achieve a level of success where
the embarrassments of my youth might be of interest to somebody. It’s impassioned and not without
charm, but I was clearly lacking experience. Regardless, I loved every moment.
While ostensibly atending UCD in pursuit of a Psychology degree, most of my ime was spent acing
in and direcing various producions with the dramaic society. On a number of occasions I collaborated
with Barry Glynn from the year below me at Gonzaga (and an excellent Sebasian in that year’s play,
Twelth Night). We mainly tackled sketch and improvised comedy and had our biggest success with The
Complete Works of William Shakespeare (abridged) which was revived a number of imes, playing to
audiences of over ive hundred (a record for the society at the ime) and for which I was nominated as
Best Actor at the Irish Student Drama Associaion (ISDA) Fesival. Even though Barry is now embarking
on a legal career, we hope to revive this show one inal ime in the near future.
I oten worked with my Gonzaga classmate Simon Ashe-Browne, assistant-director on The Crucible
and also appeared onstage as the sadisic John Hathorne. We shared the stage numerous imes and
we were nominated as Best Overall Producion at the ISDA Fesival with Waiing for Godot. Simon
had a lot of success at ISDA for his extremely polished Pinter and Becket producions which he also
directed and was recently seen at the Project Arts Centre in Rough Magic Seeds’ producion of Serious
Money. He is also an award-winning writer whose discerning insights on my work are invaluable. Even
those who haven’t chosen to pepper their lives with the panic and despair that occasionally comes
The
with a life in the arts have found it hard to complete ignore its call. Kevin O’Connor, brilliant in
Crucible as the cantankerous Giles Corey, was a UCD Dramsoc regular and recently performed in an
amateur producion in Brussels alongside developing his legal career. Michael Coonan, our powerhouse
John Proctor, did a fantasic Dramsoc producion of Endgame with Simon and Kevin and also appeared in
Andrew Nolan, class of Our inal year producion at Gonzaga changed everything. I’d dabbled in acing before, including a
2001, a recent graduate speaking role in the ith year opera the previous year, but I’d never taken it very seriously. I’ve always
of the London academy of been passionate about ilm, but it had never occurred to me that there could be a any viable career
Music and Dramatic Art
(LAMDA) for me in the medium and certainly not acing. But then Michael Bevan cast me in the key role of
Reverend Hale in Arthur Miller’s The Crucible, planing an idea in my head that has taken me to where
I am now: in London trying to grind out an acing career for myself as a recent graduate of the London
Academy of Music and Dramaic Art (LAMDA), one of the world’s leading drama schools. That’s not to
say I was paricularly outstanding in The Crucible. I’ve watched the recording we made a number of
imes and plan to have it locked away in a Swiss vault in case I ever achieve a level of success where
the embarrassments of my youth might be of interest to somebody. It’s impassioned and not without
charm, but I was clearly lacking experience. Regardless, I loved every moment.
While ostensibly atending UCD in pursuit of a Psychology degree, most of my ime was spent acing
in and direcing various producions with the dramaic society. On a number of occasions I collaborated
with Barry Glynn from the year below me at Gonzaga (and an excellent Sebasian in that year’s play,
Twelth Night). We mainly tackled sketch and improvised comedy and had our biggest success with The
Complete Works of William Shakespeare (abridged) which was revived a number of imes, playing to
audiences of over ive hundred (a record for the society at the ime) and for which I was nominated as
Best Actor at the Irish Student Drama Associaion (ISDA) Fesival. Even though Barry is now embarking
on a legal career, we hope to revive this show one inal ime in the near future.
I oten worked with my Gonzaga classmate Simon Ashe-Browne, assistant-director on The Crucible
and also appeared onstage as the sadisic John Hathorne. We shared the stage numerous imes and
we were nominated as Best Overall Producion at the ISDA Fesival with Waiing for Godot. Simon
had a lot of success at ISDA for his extremely polished Pinter and Becket producions which he also
directed and was recently seen at the Project Arts Centre in Rough Magic Seeds’ producion of Serious
Money. He is also an award-winning writer whose discerning insights on my work are invaluable. Even
those who haven’t chosen to pepper their lives with the panic and despair that occasionally comes
The
with a life in the arts have found it hard to complete ignore its call. Kevin O’Connor, brilliant in
Crucible as the cantankerous Giles Corey, was a UCD Dramsoc regular and recently performed in an
amateur producion in Brussels alongside developing his legal career. Michael Coonan, our powerhouse
John Proctor, did a fantasic Dramsoc producion of Endgame with Simon and Kevin and also appeared in
