Tag Archives: humanity

Theatre Upstairs: Monster?

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A new collaboration between Theatre Upstairs and EGM Productions has brought a real gem to its audience. Emily Gillmor Murphy’s new play Monster? is an original poignant story that won’t leave anyone feeling indifferent.

Let’s have one more conversation about women’s reproductive rights. Let’s look at the situation from a different point this time: what if she just doesn’t want to be a mother? Does it make a monster out of her? After all, all that a woman wants is to have a choice and not to be judged or frowned upon for how she feels.

Nell (played by Aisling O’Mara) – a mother-to- be – a woman – an individual and a human being just like anyone else – keeps repeating to her unhappened partner Adam (played by Jamie O’Neill) that the body is hers. Not his or the baby’s, but hers. After a drunk one night stand, she quickly discovers her unexpected new condition. Adam, though a nice guy but definitely not yet ready for becoming a father, after a brief freak out offers Nell to move in with him and, maybe, start a family. Isn’t it, after all, what every girl dreams of? Almost an orphan herself, Nell already knows she doesn’t want this baby. Not because she is an evil creature or a witch from a kid’s fairy tale but simple because she doesn’t feel ready to bring a new life into this world. My body – my choice? Or shall Nell just follow the rules of the society and silently consent to what God has created every woman for?

This roughly an hour long play doesn’t only take an unconventional approach to an important (mostly unspoken of) social topic but it also has an absolutely perfect sharp ending for a piece of this kind. With a small cast of three, Monster? is a surprisingly funny play. Michael Glenn Murphy (who plays Ru) provides the ultimate comic relief, while the other two actors wonderfully balance the tragedy and the heaviness of the story. All under the directing hand of the master himself – Karl Shiels.

Lisa Krugel’s simple but quite stunning stage design – a bar – is the first thing that welcomes you into Theatre Upstairs’ cosy auditorium. It provides the perfect setting for the story and the unforgettable beginning.

Monster? is a play that gives you more than mere entertaining and a nice night out. It gives you some real food for thought. It’s a brave, challenging production created by a bunch of undoubtedly talented and creatively inspiring artists.

Monster? by Emily Gillmor-Murphy runs in Theatre Upstairs till April 29th. So, there is no excuse not to go! For more info or to book tickets: http://www.theatreupstairs.ie/monster

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Scene and Heard Festival: Syrius

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If I had to describe Syrius with one only phrase, it would definitely be: the beauty in simplicity.

A sharp 20 min piece about a Syrian refugee on her unintended journey to Ireland presented by Rosebuds Theatre Company is indeed an awakening production. Through beautifully choreographed dance and movement Romana Testasecca tells us the story of Rasha, a young Syrian woman who is forced to flee her though beloved but self-destroying motherland in search of a more peaceful future.

A play like Syrius shows us perfectly how the almost complete lack of spoken words can sometimes even benefit and enhance a performance. One image equals one hundred words. We all live in the same world; we are all human beings who, when really want, can communicate with each other without the need for words at all. Protest banners, the white wedding veil, the headscarf, the tent, the paper boat… all these things are not only props or attributes that help move the story forward but they are also strong easily recognised international symbols.

Even though the actress does remain silent, towards the end of the piece there is an audio recording involved; the beautiful thing is that we can hear both Arabic and the English translation of it speaking almost simultaneously. It gives Rasha that little extra of being a real fleshed out person, even though she is just a generalised character. But the truth remains the same: there are hundreds of Rashas out there who have lost everything from their family and friends to the sense of belonging.

And if we want to be completely honest: there is a bit of Rasha in all of us.

Directed by Karen Killeen and choreographed by Stephanie Dufresne, Syrius is a play that isn’t afraid of challenges: be it in the structure of the piece or what lies behind the story. Rosebuds TC didn’t only create a touching piece of theatre, they brought the reality of today’s world into the art of performing. And isn’t it what good theatre is supposed to do: reflect the current situation we live in?

Syrius ran as part of Dublin’s Scene and Heard Festival in the Smock Alley Theatre from Feb. 24th to 26th. For more info about the production, you can read my interview with the woman behind it all – Romana Testasecca.

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The Complex: Horae

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Here’s a saucy one: a play about whores!

Now that I’ve got your attention, let’s talk about Horae – a unique theatre piece about the ancient craft of prostitution. From virgins to whores: in this roughly 40 minute performance Susie Lamb (the creator and performer) dances the audience through her darkishly enlightening tale.

Presented through the eyes of a single character, Lamb deepens us into the ancient world of sacred temples, where the street girls weren’t from the streets at all, they were regarded as almost holy creatures capable of providing the best cure, care and comfort. The goddesses of high places they were. And how quickly everything changed. Horae brings us back in time to learn how drastically the history can turn sometimes. In her mix of movement and spoken word, Lamb narrates the story of how once a sacred profession, a trade of respect and honour, fell so low it became a shame, an unspoken taboo.

Brought to us by NEST theatre company, Horae is an amazing example of theatre created by women and about women that could be easily enjoyed by everyone. Horae is a very strong, very unlike anything else piece of raw daring theatre at its best. It uses powerful elements to carry the already quite substantial and important subject forward and present it to the audience in a unique shape.

In Horae it quickly becomes obvious that Lamb knows her trade inside out. A professional actress and dancer, she is comfortable enough in her natural habitat to present the story to the others while keeping it fresh and engaging at all times.

Horae is a combined piece of many big and small elements. It’s a rich performance when it comes to interpretation but quite appropriately modest regarding the set design and costumes. Nevertheless, the one thing that does stand out is the lighting design (by Adrian Mullan). Visually striking beginning – the red light dot traveling through the body of the actress – was the perfect opening for such a performance.

A thoroughly researched and even more masterfully performed piece that shouldn’t be missed, Horae runs in the The Complex till February 26th. For more info or to book the tickets, do not hesitate a second and contact: http://thecomplex.ie/cinema/horae/

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Scene and Heard Festival: Interview with Romana Testasecca – Syrius

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Another day – another show. The second week of Scene and Heard Festival has already begun and we are talking human interest, international crisis and physical theatre now. All combined in one: SYRIUS, a new movement piece produced and performed by Romana Testasecca in association with Rosebuds Theatre Company.

In the interview below Romana talks about why she chose such a difficult subject as Syrian civil war and its effects on common civil Syrians; Romana also explains why she decided to present her new play as a movement piece rather than anything else.

SYRIUS will run for three nights only from Feb 24th to 26th in the Smock Alley Theatre’s Main Space. To book the tickets: http://entertainment.ie/show-/Smock-Alley-Theatre/Scene-Heard-Syrius/event-2789898.htm

 

Tell me a little bit about the piece. Is it your first solo movement performance?

1. We’re very excited to present this piece on behalf of Rosebuds, Karen Killeen and I (co-
founders) have never worked on anything like this before. The process has been very interesting and a real eye-opener. The piece is centred around the story of a young Syrian woman, Rasha, who is forced to leave her country. The piece starts just before Rasha takes part in a peaceful protest against Bashar al-Assad which leads to Rasha’s imprisonment. In prison she realises that “the Syria she knows has gone” and it’s time for her to leave. This is my first solo piece and I am very grateful that it will be taking place at Smock Alley Theatre main space to meet its first audience this Friday, Saturday and Sunday at 6.30 pm. (24th -26th Feb)

What made you decide to create a movement piece? Why this genre in particular?

2. Movement is extremely effective especially when the subject matter is so difficult for us to talk about. In many catastrophic situations, like the Syrian civil war happening right now and the subsequent difficulties thousands of refugees are facing, people find it hard to express their feelings about it. It’s hard to comprehend, we say things like “there are no words”, we find it hard to process and vocalise painful news. When matters are beyond our control and we feel helpless it is hard to express our thoughts. Sometimes a visceral bodily reaction is all we have.

Who and how came up with the story behind the piece? Tell me a little bit about the creation of the piece.

3. The process started from an idea I had about telling a specific story of a refugee and the circumstances that led up to that happening. Conversations between myself and the director Karen Killeen gave a structure and arch to the piece. After a lot of research, we pin-pointed what was going to happen, section by section. We then brought in our wonderful choreographer Stephanie Dufresne. She shaped a lot of the movement for each section. We have never had a written piece. You can’t express movement on paper. There was a lot of filming and watching back and repeating over and over. Myself and Karen rehearsed and devised all in one.

What are the main elements that can be achieved through movement and sound that wouldn’t be as noticeable or as enhanced if done in a more traditional style (i.e. a play or a monologue)?

4. Different feelings bring about movement in the body. Sometimes thoughts are hard to elaborate through words. You can achieve a certain flow when you’re moving and that sequence of movements can mean something to one person and a different thing to someone else. People can interpret movement in different ways and that’s what makes it so interesting and unique. Movement connects a different part of us which is very rarely exposed.

The sound, designed by the talented Garret Hynes, is extremely helpful in conveying the message and feeding the narrative. The tricky part of abstract movement is that when it gets too abstract people don’t know what’s going on. When you are invested in the story and you’re creating it, you know what is going on so you feel it’s obvious. You aim to leave the audience as free as possible but you can’t give them too little either or you’ll lose them. It has to be balanced out and the sound provides a great equilibrium and serves as a guide for the audience. The audience then connects the visual with the audio.

What are the main challenges // advantages for you rehearsing and performing the piece?

5. The process is very free and liberating. There are no boundaries but if anything doesn’t work, we’re not afraid of letting it go or moving sections around so that the pieces fit together. It’s good to peel back and get to the core of what we’re trying to achieve. As a performer, you don’t always get the chance to move freely in the space and follow your physical instincts so that has been incredibly interesting to explore. I found it very useful to record myself and to watch it back with an objective eye. The challenge is assigning the correct weight to each part and moving coherently from section to section. The piece is abstract but it does follow a linear narrative, we have inserted voiceovers and certain moments in the story to give a little more context.

What would you like to achieve through the piece? What would you like the audience to bring home with them after the performance?

6. Ideally, we would love for the audience to connect with this story, no matter how far away it is from their own reality; SYRIUS is a universal story about losing everything you hold close, starting with your country. Geographically we are far from what is happening in Syria but that does not excuse us from being mentally disconnected from it. I’d like for the audience to reflect upon what is happening right now and ask themselves what we can do to help refugees. As a nation but also as individuals. These people need our help and all we have is our voice and our bodies. We have to use ourselves to speak out on behalf of people like Rasha. We have to welcome them in our countries. We have to give them a voice.

If you could describe the piece in three words only what would they be?

COLD , HARD , HOPE.

 

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Teachers’ Club: The Boy with the Halogyn Hair

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“Love plus drugs equals heaven.”

One. Two. Three. The lights go down. And we are back to the universe of Franner and Joey. Remember the two crack heads pumping themselves up on a rooftop with a view of Dublin North inner city?

Now we might as well place our feet down onto the solid ground and visit one of the inhabitants of that infamous building. Paula (played by Ericka Roe) used to be a good girl, who did well in school and loved and respected her parents. But shortly after turning eighteen she met a boy, a boy with the halogyn hair who turned her world upside down. But Duggo, an irresistibly attractive crack head with what seemed like years of experience in drug abuse, wasn’t only a bad influence on her. Apart from introducing her to drugs (starting with no more no less but heroin) and almost getting her involved in prostitution, the boy also physically abused Paula and from time to time would lock her in the apartment. But now, two years after, would Paula be able to break free from her addictive unhealthy obsession? Is the will strong enough?

The Boy with the Halogyn Hair is written by Eddie Naughton and directed by Kieran McDonnell, two men who must know inside out the dark world that they once created. Comparing this piece to Franner and Joey, both works have a very similar setting and even the general feeling to it but differ on a somewhat deeper subliminal level. Both plays excel at creating a sense of a freshly fleshed out worlds with real and vivid characters inhabiting it.

Being an almost seventy minute monologue, the play has a bit of a twist at the end, which shakes things up quite nicely and adds some action to an otherwise calm narration filled mainly with memories, emotions and heroin’s self-persuasion of doing the right thing.

The lighting and the set design showed an interesting gradual degradation of the main character (who is bit by bit picking up her life from the floor) throughout the play with the very last scene being the strongest one of all both visually and plot-wise. The purely stylistic effect that bright red light produces in the total darkness is a very powerful tool. It creates a sense of character being bit by bit swollen up by the demons of hell when a drug hits the vein.

An image of Dublin as many might know and have even experienced it. A female view to the mostly manly world. Paula’s story of making all the wrong decisions and having to face the consequences. The Boy with The Halogyn Hair, a poisonous story of a drug abuse reality, is a product by Little Shadow Theatre Company. For more info: https://www.facebook.com/events/146993262438490/

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The Peacock Theatre: The Ireland Trilogy

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THEATREclub, without any doubt, is one of those theatre companies that is not afraid to create some truly thought-provoking, relevant and challenging plays that aim not only to entertain but to make people want to take action. The company takes some of the most controversial (often frowned upon by the rest) topics and makes a performance out of it. A performance that can easily be described as naturalistic and close to the real life. As a matter of fact, some of their productions are on such a thin line between the imaginary world and the reality that it becomes difficult to differentiate wether it’s all still just a game. The actors use their own names, they easily and eagerly interact with the audience and make the script come from their heart.

Having been to other productions by THEATREclub, I was somewhat prepared for the trilogy. Well, at least I thought I was. I knew well that I was going to see three pieces about possibly shocking but truthful reality, about what’s going on behind the closed doors and shut mouthes, about what is not only not being talked about but is being ignored and willingly forgotten by many. The company is famous for its thorough research process, for devising their plays inside the company and for the deep belief that a change is always possible. I was ready to be challenged. I was ready to see the real Ireland.

The Ireland Trilogy consists of three plays: The Family, Heroine and History. All of them are played by the same core ensemble of actors and directed by the company’s very own Grace Dyas.

The Family, just like the title suggests, peeks on the life of an ordinary Irish family. Here we have everything from: unrequited love to fathers and sons battles, to a relative leaving for America, to the fact that a family doesn’t exist as a family anymore, it’s just a bunch of cohabiting people who can’t or don’t want to listen, to understand and to support each other. All this is set in a freshly painted cardboard house with the romantic Andy Williams songs playing in the background. A beautifully wrapped glossy candy that is slightly rotten on the inside.

This piece strikes from the beginning as the characters acknowledge the audience’s existence straight away and even keep track of the “show time”. We become part of the play. What’s happening on stage isn’t happening to some faceless fictional “them”. It’s happening to our relatives, to our friends, to our neighbours… Sometimes, it’s even happening to us. The sound of a million voices, all shouting, screaming, whispering at the same time, makes it difficult to make out the words and sentences but impossible not to try to. All we have to do is just listen.

Heroine takes a look at the abuse of illegal drugs in Ireland for the last half of the century. A very beautifully composed piece with elements of poetry, spoken word and nostalgia for the good olden days. Heroine has a totally different feel to it as opposed to The Family. From the pink cotton candy fifties, we move to the cool, leather-jacketed, edgy seventies of sex, drugs and rock-n-roll. The children of yesterday have grown up. They live in shabby apartments with their questionable friends, where they pump up hard drugs down the pulsing veins and watch trash TV programmes all day long. They don’t care about the future or the world. All those bad things happening around, they are not happening.

This piece particularly stands out because of the emotional delivery. The ensemble gives a heartbreaking performance of three broken – completely lost and drug dependent – souls.

History is the last part in The Ireland Trilogy. When one starts talking about the history of Ireland, the first thing that springs into mind is, of course, The Civil War, The Revolution, DeV and Michael Collins, the conflict between the Republic and Northern Ireland. History is indeed written by the winners. It’s also written by a selected group of the elite. People, common folks like you and me, unfortunately do not write the history. At least, not the one that will be composed into a book and studied by generations onwards.

And that’s exactly what’s on THEATREclub’s agenda: to show to the public the real history of Ireland (who deep inside is a beautiful ginger girl wearing an emerald green dress), the life of the other half, without sugarcoating or overdramatizing anything. History mainly looks on the historical importance of Richmond Barracks, where the British Army was homed during the Civil War; Goldenbridge Church that once used to be one of the infamous laundries housing unmarried and unwanted young mothers-to-be; and finally on the long tragic sixteen years of regeneration of Dublin’s St Michael’s Estate, that was built to fight the housing crisis of the 60s.

Originally built in 1969, the estate fell in to such a decay that by the end of the 80s  a survey was conducted amongst its inhabitants on what to do with the site. The absolute majority of the tenants preferred it to be completely demolished and rebuilt rather than refurbished. It will take the government sixteen long years to put an end to the inhuman living conditions of Inchicore’s council flats. The government has forgotten about these people, if it ever remembered about them in the first place. Even the statue of Virgin Mary erected on the premises felt like she had failed her devoted worshipers.

THEATREclub looks at modern Ireland through the spectacle of equality, with the broad meaning of this word. All people are equal and all of them deserve equal treatment and promise of a better – fairer – future therefore everybody’s story is important, everybody’s story is relevant and deserves to be heard. For more info about the plays and the company’s work: http://www.theatreclub.ie/our-work/

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The Complex: The Leaves of Heaven

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From big theaters to small lofts. From traditional spaces to the most unorthodox and challenging ones. Only a true theatre goer knows that the beauty of those unconventional places hides in the fact that every performance there is a technical, artistic and directorial surprise. The little spaces are usually the ones that invest all their heart and soul into staging a small scale but otherwise truly big productions. The Complex is a venue exactly like that. You are always in for a nice treat when you walk through the little side door on Little Green Street.

First going through an exhibition room beautifully decorated with candles and much needed winter warmth, you finally end up in the performing space, which is carefully designed to meet the needs of each performance separately. For The Leaves of Heaven the audience is seated on one side facing the stage. And from the second you walk in, all your attention is immediately and irreversibly drawn to the set (designed by Stephanie Golden and Justyna Marta Nowicka). But the real astonishment hits when you realise that the majority of the decoration and props – doll houses – is done with simple DIY tools like cardboard cut outs and paper. Placed on a side they create a somewhat nostalgic image of a child’s room. While on the other side we have a paper tree and a bench – a very symbolic representation of solitude and loneliness, the feeling of which consistently penetrates the story. To add a slightly edgy and even, perhaps, creepy angle to the piece a number of dummies inhabit the already eerie stage. In a corner is hanging a big full moon.

Balancing on the periphery of this world and the imaginary one, we finally meet Francie Brady (played by Brian Mallon) – the butcher boy. In The Leaves of Heaven Pat McCabe revisits one of his most famous characters but only as a ghost, amongst many others, who is there to document Brady’s story not to interfere with it. Following the horrifically abusive childhood and the murder it lead to, Francie ends up in the place where he was always meant to be: a criminal asylum. As his mental state deteriorates and the mind is being almost completely overtaken by profound delusion, it becomes more and more difficult to say which part of his story is real and which one is entirely a plot created by his ill imagination. The only one thing is constant: the apparition of our Holy Mother Mary (played by Mairead Devlin). She is the only one who never gave up on Francie.

Both Mallon and Devlin give an absolutely jaw-dropping performance. Brian’s impeccable spot-on boyish physicality and the impossibly tragic portrayal of the decay of the butcher boy’s mind allows the audience to see a total different side of Francie. He is frail, he is sad but, most of all, he is human. Both Mallon and Devlin play a whole range of different characters, all vary in age, gender and nationality, but every single one of them comes across as a complete real human being. You look at a dummies’ face and you don’t see a dummy, you see a person – a personality – hiding, at times being completely lost, behind it. The embodyment is so creepily exact sometimes that it’s hard to process the fact that there are only two actors on stage. Devlin’s breathtaking voice is indescribable and unreviewable. Her Ave Maria was pure heaven.

To round up the whole experience, the ultimate atmosphere setters are undoubtedly the lighting (by Conleth White) and the sound designs. Music is so perfect for the mood, it makes you cry. It pinches that other sense – hearing – that allows you to perceive Francie’s state of mind on a more profound level. The Leaves of Heaven is one of those plays where the props (by Stephanie Golden, Justyna Marta Nowicka, Sam Lambert, Derek Hathaway and Lewis McGee) are just as important as the actors. The incredible moon that would turn from peaceful white to ominous red was a whole being of its own adding a powerful eerie touch to the surrealism of it all.

McCabe’s play transfers you from a hopeless Irish small town (that the novel is set in) into an absolutely unique and colourful universe that reins in Francie’s mind. Just like their stories, all the characters’ voices are unique and easily distinguishable. And even though their life paths might be gruesome, at times appalling and even shocking, the beautiful storytelling of McCabe’s play allows the audience to surpass those actions of long ago. We witness the real, though heavily decaying, humanity behind the dummy’s mask.

The Leaves of Heaven is impossible not to connect with. The plot, the performances, the characterisation, the actors’ output and, of course, the directing (by Joe O’Byrne) of this production will leave you in an awe. This 90 min piece holds so much of dramatic tension and human emotion that  can only be experienced in a comfort of a safe intimate space like The Complex. The play runs till November 27th. For more info or to book tickets: https://www.tickets.ie/events.aspx/search?s=leaves or by calling (01) 544 6922

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