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The play’s still the thing.


Ideas for the Project come thick and fast. Then there are those long dry spells, probably linked with my bouts of depression, when an old notion comes back to haunt me, cries out for attention, and I discover its been eight years since I last engaged with it! That’s the case with Seamus Tierney and his theatrical career in Agincourt.

I last wrote about Seamus in 2011—at any length, that is, though tangentially—but hadn’t realized that when I started writing something today about Reinhold Kölb’s fusion of Japanese Noh theatre and Austrian psycho-drama, a therapeutic technique he used at his clinic out on Thoreau Avenue.

It’s a goodly distance from ancient Delphi and Agincourt’s Commons. About as far culturally as it is from Kyoto to Vienna. And goodness knows I have no business trying to imagine what Kölb had concocted and how Tierney might have been exposed to it as a young boy and what that could mean for the Project’s future.

Probably nothing.

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