Madi O’ Carroll
Madi is a graduate of Gaiety School of Acting full time course 2015.
Recent screen credits include the lead in Eva Wyse’s one minute film BITCH screened at Galway Film Fleadh 2019, the role of Stella Lyons on RTÉ’s Fair City, and Goneril in WarTank Production’s King Lear for Shakespeare Unwrapped.
Madi just finished up with Game Theory’s MOOP as part of Dublin Fringe Festival 2019 which was listed as The Irish Times’ Top 9 Fringe Shows 2019 and was nominated for Best Ensemble Award.
In April Madi took on the role of Baba in UNESCO‘s co-production with The New Theatre of Edna O’Brien’s Girls In Their Married Bliss for which she received a glowing review evidenced below in the reviews section.
Previous to this Madi enjoyed a fantastic sell-out fortnight of Ali Hardiman’s new comedy Disconnected in The New Theatre in February.
She travelled to Edinburgh Fringe Festival 2018 with Kit Thompson’s dark comedy The Threesome which played a successful week in Greenside Studios. She opened 2018 taking on the role of Tanya in The Granary Theatre’s February production of Punk Rock in January 2018. Previous theatre credits include a national tour of Dubliners Women in various theatres including Belfast’s Lyric and The Pavillion in Dun Laoghaire and The Spinning Heart, an adapted play from the award-winning novel by Donal Ryan which enjoyed a sold out run in The Gaiety Theatre following runs in both The Mill Theatre Dundrum and Smock Alley in early 2017. Madi doubled up as The Fool and Cordelia in King Lear and played Lady Capulet in Romeo & Juliet as part of the Gaiety School Shakespeare Programme which toured both rural and city Ireland, performed in Remember To Breathe as part of Tiger Dublin Fringe 2015 written and directed by Orla Murphy as well as the award-winning playwright Philip Doherty’s premiere of The Full Moon Hotel in Smock Alley Theatre.
Madi is a skilled musician as well as actor, trained with ABRSM in classical violin (grade 8) and a strong grasp on musical improvisation and composition.
“O’Carroll has a kind of Brenda Fricker quality, a face that lights up with pleasure and genial warmth, whether real or pretended, then tightens with manipulative intent and determination. She fills the stage then retreats invisible, into a corner, creates a minor character with a few rapid squints and a grimace or two, plays the fiddle and anchors the entire production. She is surely a talent to watch.”
No More Workhorse, P. McGovern
“O’Carroll’s worldly and world weary Baba…is built from tone, pitch and timbre, along with O’Carroll’s sublimely crafted expressions, into something extraordinarily suggestive of deep and hidden things.”
The Arts Review, Chris O’Rourke