If a picture tells a thousand words, then what about a movement, a gesture, a pose, a step? How much of a story can be told by the way we move, turn, look or keep completely still and silent?…
Silence… Ronan Dempsey’s new piece is anything but silent. As a matter of fact, it’s screaming louder than any amount of words. A story about a man, whose whole life is as turned and broken inside as it is outside: a table balancing on three legs, a puddle of spilled wine so similar to a quickly growing pool of blood, a festive sign “Welcome Home” written to someone special, who was never meant to see it in the first place.
The Words Are There is the kind of tragedy that usually happens behind the closed doors. It’s not talked about. But it doesn’t make the screams of the abused one being any less louder. It’s just not everyone wants to hear them. The walls people build conceal everything.
He – The Man (played by Ronan Dempsey) is a person who has seen abuse from an early age. When he meets her – The Woman (voiced by Jessica Leen) – a little hope of a possible happiness is being born in his heart. They will live in Bettystown, by the sea. And everything is going to be fine because he has her and she has him. But not unlike him, she has demons of her own who are tearing her broken soul apart.
In his fifty minute piece and one single, almost spilled out, line, Ronan Dempsey presents a story deeper than those books worth a thousand pages. When actions speak louder than any words, the tale tells itself.
The Words Are There balances on the border between reality and fantasy created by The Man. Trained in physical theatre and mime by the very masters of their art, Dempsey builds a whole world on stage; only a true genius can make a mop not only come alive but also represent something beautiful and lovable.
A performance that speaks for itself. The Words Are There is an unforgettable piece of theatre that won’t leave anyone unmoved. The play is written and directed by Ronan Dempsey and presented by The Nth Degree Productions in collaboration with Theatre Upstairs, where it runs till May 20th. Fore more info or to book tickets: http://www.theatreupstairs.ie/thewordsarethere
If you are looking for something to have a good old laugh, then look no further!
Presented as a special double bill deal (together with Nicole O’Connor’s Both Sides Now), Wasting Paper by Leah Moore is a real cracker like no other!
The play follows the story of Casey (played by Leah Moore), an eighteen year old gay teenager who is weeks away from doing her Leaving Cert exam. It looks like life is good for Casey. She is even some sort of a local celebrity, a modern day Shakespeare – Casey is a poem writer (the kind that gets invited to all the cool events and places like Electric Picnic and The Mansion House).
After a summer of success and adventure, Casey faces the last year of school before diving into the world of grown-up life. And there is one particular class she is more than eager to go back to – English language and literature, of course. But what a surprise to find out that her old teacher has been replaced by a younger version. The moment the 23 year old Tess walks into her first experience as a secondary school teacher, Casey immediately puts her eye on the forbidden fruit. And not that long passes before it becomes evident that Tess isn’t that uninterested in the tabu relationship herself.
This thirty minute piece wins its audience over not only with funny lines but also with some quite superb acting by both performers: Leah Moore and Ciara Smyth. Crispy delivery of the sharpened script, wonderfully fleshed out characters and loads of enthusiasm and energy make Wasting Paper truly stand out.
Wasting Paper really flies by before one can think twice, so cherish every minute of this female-driven experience. It’s really refreshing to see plays about both gay men and women as such an important issue touches both genders equally.
Wasting Paper, directed by Craig Connolly, runs in Pearse Center Theatre till May, 6th (with a 4PM and a 7.30PM performances on the final night). Fore more info or to book tickets: https://gaytheatre.ticketsolve.com/shows/873572855/events
The International Dublin Gay Theatre Festival 2017 has opened its wide and ever welcoming doors to another year of theatre, art, music and creative performances. Filled with pieces on gay awareness, the two weeks of the festival have on offer something very special for each and everyone.
Both Sides Now, written and performed by Nicole O’Connor, is just one of the rich variety of plays that is presented by its creators to be truly enjoyed and experienced. Being part of a double bill deal (see two plays for the price of one; who would say no to that?) along with Leah Moore’s Wasting Paper, Both Sides Now tells us the story of Lydia – a young bisexual girl who is on a long road of discovering herself and her sexuality. Lydia is doing her first steps into the world of the unknown where she meets Carrie, her first love. After making plans of travelling the world together, the young couple doesn’t even survive the summer. Not being able to get completely over Carrie, Lydia looks for her cure – a sort of, at least – in Joni Mitchell’s songs.
The way this forty minute piece is delivered is both touching and charming. It’s simple and very natural but captivating, at the same time. O’Connor, who plays the title character, just like an old friend brings you through the story. She makes it funny and sad; she even has a cute handmade presentation to explain some things.
Both Sides Now is a beautiful mix of music and storytelling. And if you happen to be an admirer of Joni Mitchell’s, then you are undoubtedly in for a double treat.
Both Sides Now, an original piece of theatre directed by James O’Connor, runs in the Pearse Centre Theatre until May 6th (with a 4PM and a 7.30PM performances on Saturday). For more info or to book tickets: https://gaytheatre.ticketsolve.com/shows/873572855/events
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
Tea + Toast Theatre Company in association with Theatre Upstairs presents Fizzy Drinks with Two Straws. And if the title itself hasn’t already intrigued you enough, then maybe you should stick around for a bit longer to find out what it’s all about.
An original piece of theatre, written by Joyce Dignam and directed by Dignam herself and Meabh Hennelly, Fizzy Drinks is a simple story told from a very nontrivial point of view. It tells us about an Irish family on their holidays in Wexford. Maybe not the fanciest of all holiday destinations, one might think and Lara (played by Ali Hardiman) and Rosie (played by Tara Maguire) will definitely agree with you. But it’s not the lack of exoticism or Mediterranean sun on the resort that upsets the little girls; it’s the feeling that something bad is going on in their family and nobody would tell or explain them anything. Mam and Dad seem to be enclosed in a local pub with a family friend, while Lara and Rosie are left to play by themselves in a playground outside. Nevertheless, their minds can’t help but wonder what’s really hiding behind all that grown-up talk that even playing Mommies and Daddies doesn’t help.
In this approximately one hour play, we witness the story from the point of view of two little girls – the eldest being only ten. It’s definitely catchy and refreshing. Both Hardiman and Maguire are excellent at portraying little girls as well as adults. The sense of naiveness and childishness that they transmit to the audience is nothing but adorable and hugely entertaining.
Fizzy Drinks with Two Straws is an easy to watch and enjoy production showcasing some of the raising talents of the Irish theatre. The play was presented as part of this year’s Scene and Heard Festival last month. Apart from decent acting, there is some nice lighting (by Shane Gill) and sound (by Conrad Jones-Brangan) designs. As for the set design, being presented as a playground, it’s quite outstanding with a real slide mounted on the Theatre Upstairs’ cozy stage.
Fizzy Drinks with Two Straws runs in Theatre Upstairs till April 8th. It’s never too late to be a child again and perhaps remind yourself how it all used to feel like. For more info or to book tickets: http://www.theatreupstairs.ie/fdwts
Illustrated Productions present a bitter tale of feminism, family and fame.
A story within a story, Bronte brings us through the lives of five members of The Bronte family. Growing up near a moor in Yorkshire, the three famous sisters start their story by explaining why their tales have always been inhabited by so many orphans. Though there was a father (played by Ruairí Lenaghan), the mother Bronte has departed from this world way too early; the same cruel fate has not passed by the elder two sisters. But Charlotte (played by Louise O’Meara), Emily (played by Katie McCann) and Anne (played by Ashleigh Dorrell) together with their only brother Branwell (played by Desmond Eastwood) lived long enough to give this world such truly outstanding stories as Jane Eyre and Wuthering Heights.
Illustrated Productions has created an atmospherical story that brings you back to the nineteenth century England in a blink of an eye. The beautifully structured two hour piece mainly centers on the lives of the three sisters but doesn’t leave out the not-so-famous brother, either. In a very subtle way the play shows us what and, mainly, who inspired the Brontes to write their masterpieces. Here is the overprotective father, the abusive brother, the virgin, the mad wife, the lover… the list goes on and on. The barrier between the real world and the Bronte’s one at times gets so thin that you forget who is a fictional character and who is the real one. The company has used a visually powerful device: when one of the sisters is writing a new passage of her story, another member of the family re-enacts it on stage.
The brilliant casting decisions are more than evident from the very beginning. All five protagonists come across as real truthful human beings. The diversity and particularity of character of the Bronte sisters that McCann, O’Meara and Dorrell so masterfully portray is striking and quite appealing to watch. The way the characters build up the story and develop the relationships between each other is incredibly strong.
Bronte grabs your attention and doesn’t let it go until the very end. The set (designed by Sinead Purcell), the lighting (designed by Brian Nulty), everything is there to transport you to anything but charming Victorian England and show how three poor unknown spinsters became some of the finest female writers of their century and beyond.
Bronte, written by Polly Teale and directed by Clare Maguire, has enjoyed a sold out run in Smock Alley Theatre. For those who didn’t get lucky, there is still a chance to catch this absolutely magnificent production when it transfers to the dlr Mill Theatre, Dundrum next week. From 16th to 18th March. For more info or to book tickets: http://www.milltheatre.ie/events/bronte/
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.