25 Facts About Abbey Theatre

Abbey Theatre, known as the National Theatre of Ireland, in Dublin, Ireland, is one of the country's leading cultural institutions.

The Abbey was the first state-subsidized theatre in the English-speaking world; from 1925 onwards it received an annual subsidy from the Irish Free State.

The Abbey Theatre served as a nursery for many of leading Irish playwrights, including William Butler Yeats, Lady Gregory, Sean O'Casey and John Millington Synge, as well as leading actors.

Abbey Theatre continued at the Antient Concert Rooms, producing works by Seumas O'Cuisin, Fred Ryan and Yeats.

Abbey Theatre's met Yeats in 1898, and he admitted to her that it was a dream of his to create a theatre in which new ambitious Irish plays could be performed.

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Abbey Theatre's was critical in making the ILT and the INTS function financially before Annie Horniman's support.

Abbey Theatre is sometimes called Yeats' theatre or a manifestation of his own artistic ambitions and ideals.

Abbey Theatre wanted a theatre in which the playwright's words were the most important thing, prevailing over the actor and the audience.

Abbey Theatre chose to stay because of his relationship with Horniman, who he saw as a mean to secure his ambitions and those of the Fay Brothers' troupe of Irish actors.

Abbey Theatre gave this speech in 1903 and by 1904 he was the president of the Abbey Theatre.

Abbey Theatre's was first brought in by Yeats as a costume designer for his play The King's Threshold, as she greatly loved his art and it was a way for him to get closer to her.

Abbey Theatre's supported him as well as the INTS with financial support as she came from a rich family and, in 1903, after Yeats eloquently declared his apolitical theatrical ideals, she offered to give him a theatre in Dublin worth thirteen thousand pounds, but for the deal to work, she had strict conditions.

Abbey Theatre's finally gave the building for the Abbey Theatre in 1904, but remained the owner.

Abbey Theatre's didn't want to have anything to do with Irish politics, especially not nationalism, and was very reactive to anything she saw as political, which caused several inflammatory feuds with her colleagues.

Abbey Theatre's did not care for the accessibility of theatre, which was an important issue for the founders, and she created additional rules for ticket pricing, and made the Abbey Theatre one of the most expensive theatres in Dublin.

Abbey Theatre's remained involved for a few strenuous years and left in 1907, angrily realizing she couldn't achieve self-expression at the Abbey, but stayed financially involved until 1910.

The new Abbey Theatre found great popular success, and large crowds attended many of its productions.

The Abbey Theatre was fortunate in having Synge as a key member, as he was then considered one of the foremost English-language dramatists.

Abbey Theatre's fortunes worsened in January 1907 when the opening of Synge's The Playboy of the Western World resulted in civil disturbance.

Abbey Theatre was alienated from and unable to cope with many of the other board members.

Rather than the theatre's old system of limiting the initial run of a new play to week, no matter how popular the play became, the Abbey ran their new plays until their audience was exhausted.

Abbey Theatre leased the old Queen's Theatre in September and continued in residence there until 1966.

The Abbey Theatre developed a relationship with the Public Theater in New York, where it has presented two new plays: Terminus by Mark O'Rowe and Sam Shepard's Kicking a Dead Horse.

Abbey Theatre ran a special programme, Waking the Nation, to commemorate the Easter Rising of 1916.

In 2016, the Abbey Theatre's direction passed to two co-directors on five-year contracts.

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