Francis O’Connor

Costume design
Set design

Francis O’Connor is a regular collaborator with Garry Hynes and Druid. His designs for plays, musicals and opera have been seen in Ireland, UK, throughout the US, Europe and Asia.

For Druid, his designs include: Brigit, Bailegangaire,The Colleen Bawn, Big Maggie, The Silver Tassie, The Gigli Concert, The Cripple of Inishmaan, Long Day’s Journey into Night, Leaves, Empress of India, The Year of the Hiker, DruidSynge, The Well of the Saints, The Tinker’s Wedding, Sharon’s Grave, Sive, The Good Father, My Brilliant Divorce, The Beauty Queen of Leenane, The Lonesome West, The Leenane Trilogy, The Country Boy, The Way You Look Tonight, Shadow and Substance, and Wild Harvest.

 

Francis is represented by Dennis Lyne Agency,
+44 (0)20 7272 5020, info@dennislyne.com

Awards
Awards include three Irish Times Best Design Awards, Boston Critics Circle, Dora Mavor Moore Award, and a nomination for the Faust Prize in Germany

Francis O’Connor   The Price

2014
Stage Theatre
Set design
Other featured designers
Sinead McKenna
Joan O'Clery
Denis Clohessy
Production company
Gate Theatre
Premiere Venue
Gate Theatre, Dublin
Writer
Arthur Miller
Director
Doug Hughes
Photographer
Patrick Redmond

Francis O’Connor   An Ideal Husband

2014
Stage Theatre
Set design
Other featured designers
Sinead McKenna
Peter O'Brien
Denis Clohessy
Production company
Gate Theatre
Premiere Venue
Gate Theatre, Dublin
Writer
Oscar Wilde
Director
Ethan McSweeny
Photographer
Daragh McDonagh

Francis O’Connor   Aristocrats

2014
Stage Theatre
Set design
Other featured designers
Sinead McKenna
Catherine Fay
Denis Clohessy
Production company
Abbey Theatre
Premiere Venue
Abbey Theatre, Dublin
Writer
Brian Friel
Director
Patrick Mason
Photographer
Ros Kavanagh

Francis O’Connor   The Colleen Bawn

2013
Stage Theatre
Costume design
Set design
Production company
Druid Theatre
Premiere Venue
The Black Box, Galway
Writer
Dion Boucicault
Director
Garry Hynes
Photographer
Colm Hogan

Artist Statement

For me as a stage designer, my most important job is to create a physical space that can conjure a vivid world where the action of the play can unfold. In my work with Druid and Garry Hynes we have tried to re-imagine many of the classics of the Irish repertoire.

In The Colleen Bawn we wanted to find a new landscape for the play that didn’t rely on the spectacle of Melodrama. It could have its spectacular side but that would directly come from each moment. We made a landscape but put within it the ghost house of Castle Chute. This had its own magical presence and allowed us to freely play with interiors and exteriors. The lake where the famous drowning happens is a simple glass bath, but we actually see the heroine drown – the violence of it, her body losing life, we see this happening – the actual drama as opposed to the traditional arrival of boats climbing on rocks.

The intention is always to tell a story and to tell it in the best, freshest way we can imagine.


Francis O’Connor   Famine

2012
Stage Theatre
Set design
Other featured designers
Joan O'Clery
Production company
Druid
Premiere Venue
Town Hall Theatre, Galway
Writer
Tom Murphy
Director
Garry Hynes
Photographer
Catherine Ashmore

Artist Statement

For me as a stage designer, my most important job is to create a physical space that can conjure a vivid world where the action of the play can unfold. In my work with Druid and Garry Hynes we have tried to re-imagine many of the classics of the Irish repertoire. Sometimes by presenting a group of plays together, as in Druid Synge or Druid Murphy, we have been liberated by the work to envision many plays occupying one transformative space.

The physical naturalism of some of the work is freed up by presenting the plays together – in DruidMurphy, Conversations On A Homecoming and Whistle In The Dark require specific locations and solutions for the mechanics of the play to function: a bar, a sitting room; whereas in Famine the play is more abstract and this hopefully is present somehow in the other plays. The overall space of Famine, with its corrugated walls expressing landscape and driving rain, is the frame for the other two plays. As we approach Famine the naturalism is stripped away and we journey back in time to the formative time and event that perhaps leads to the later stories.

The intention is always to tell a story and to tell it in the best, freshest way we can imagine.


Francis O’Connor   My Cousin Rachel

2012
Stage Theatre
Costume design
Set design
Other featured designers
Denis Clohessy
Production company
Gate Theatre
Premiere Venue
Gate Theatre, Dublin
Writer
Daphne du Maurier, adapted by Joseph O'Connor
Director
Toby Frow
Photographer
Patrick Redmond

Francis O’Connor   The Big House

2007
Stage Theatre
Set design
Other featured designers
Philip Stewart
Joan O'Clery
Production company
Abbey Theatre
Premiere Venue
Abbey Theatre, Dublin
Writer
Lennox Robinson
Director
Conall Morrison
Photographer
Ros Kavanagh