Tag Archives: play

Pearse Centre Theatre: Wasting Paper (IDGTF)

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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 But what a surprise to find out that her old teacher has been replaced by a younger version.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

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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 Abbey Theatre: Arlington

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The new season, and what looks like a whole new life for The Abbey Theatre, opened 2017 with one of Enda Walsh’s most recent plays – Arlington, a dramatic performance of a new dystopian world that jumps out of page on Ireland’s National Stage in a fascinatingly profound embodiment.

In this ninety minute non-stop piece, Walsh brings us on a multi-dimensional journey into a strangely scary futuristic world of broken people and imprisoned emotions. What roughly could be divided into three parts, Arlington is a powerful combination of spoken words, dance, movement, monologue, sound and visual effects. Almost like something out of a George Orwell novel, in reality Arlington is a beautifully metaphorical closed room drama, speaking both literally and metaphorically.

Isla is a girl (played by Charlie Murphy) who has spent almost an entire life inside this weird empty waiting room just waiting for her number to be called. The only source of communication with the outside world for her has been a mic on the wall. There is a guy – the new guy (played by Hugh O’Connor), as we soon find out – on the other side, nevertheless. In a small cluttered office, like a rat in his preassigned cubicle, he listens to Isla’s wildest dreams and thoughts. It’s only a matter of time now before he himself will take her place inside the locked madness.

And just as quickly as the door opens in front of Isla, it soon closes behind the other girl (played by Oonagh Doherty). Without saying a single world, she offers us her tale entirely through movement and dance. With an absolutely breathtaking game of light and shadow (designed by Adam Silverman), not a single bit of text or explanation is needed to transmit the meaning behind the silent story to the audience. The girl  uses her own body to convey the concept of a locked space: be it a room or a human body.

Walsh’s play premiered last year at Galway International Arts Festival. An abstract piece with more than defined meaning, Arlington combines in itself a hurricane of human emotions. Three very diverse, very different pieces about human nature , deep grief and yearning for something that they are being stripped off, present very nicely balanced contrast one to another.

The set design (by Jamie Vartan) and its symbolism also plays a huge part in the piece. Like a fish herself, the appropriately named Isla, for example, waits in a bare room with almost nothing but three plastic chairs and a forever empty fish tank.

A trap that you would love to fall into, Arlington runs in The Abbey Theatre until February 25th. For more info or to book tickets: http://www.abbeytheatre.ie/whats_on/event/arlington?gclid=CP7IgfaZn9ICFW4B0wodBbcA_Q

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The New Theatre: Happy Birthday Jacob

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You know a decent play from the very start! Beautifully designed stage (by Ciara Murnane), intriguing beginning and an adorable 10 year old playing one of the main parts! It’s unusual enough for a big production to have child actors (never mind The Abbey’s latest staging of Anna Karenina), let alone a first production of an original play. Challenge must definitely be something Púca Productions aren’t afraid of and ready to embrace.

A poignant tragedy about two brothers: a 17 year old Jacob (played by Sean Basil Crawford) and a 10 year old Lucas (played by Finian Duff Lennon). After both of their parents left them, for eight years Jacob has been looking after his baby brother. Perhaps not an ideal brother himself, with demons of his own as we all are, Jacob was the one who stayed behind and always cared for Lucas. Living in a run-down flat and barely making ends meet, the situation, nevertheless, takes an even worse turn when Lucas suddenly gets into fight at school and parents are being called in. Jacob quickly realises the gravity of the situation; his baby brother, the only person he has in this world, can be soon taken away from him as there is no parent or legal guardian looking after the two underaged boys. The only hope remains that in a couple of days it’s Jacob’s 18th birthday. And then a sudden knock on the door from the past comes…

In Michael Marshall’s roller-coaster script, there is everything a good audience can wish for. Hand in hand with the impeccable and obviously talented cast, the author brings you on a hugely enjoyable though highly emotional journey to Jacob’s life and loss. In Happy Birthday Jacob there is absolutely everything a solid plot needs: there is tragedy, there is comedy, there is singing and dancing (in a very cute and adorable way!), there are carefully crafted characters who make the audience really care about their lives.

Nowadays it’s quite difficult to pull off a twist at the end that is not predictable all throughout the play but Marshall did it and he did it well. Just when you think you know what’s happening, the very last scene comes as a complete jaw-dropping surprise and as the lights go out, you suddenly understand that the blackout isn’t only for the audience.

But no play, no matter how good it is, is ever truly alive without the actors actually performing the scenes and saying the words. The small cast of four in Happy Birthday Jacob beats all the possible expectations. Every single one of them absolutely shines on stage and truly gives a performance of a lifetime that shall never be forgotten. All the characters are very diverse and beautifully shaped out by both the actors and the playwright. The absolute jewel of the crown is the immensely talented Finian Duff Lenon portraying Lucas. But kudos must also be given to Maree Jane Duffy (playing Mary), whose storytelling skills were so moving it made some cry; to Karen Kelly (playing Terry) for bringing us back to the 90s in a way that no travel machine could have done better! And, of course, to Sean Basil Crawford who created a truly beautiful complex human being.

Done to a very high standard was also the technical side of the show. Happy Birthday Jacob wouldn’t be what it is without the outstanding music and sound design (by Bill Woodland).

So, if in doubt, it’s simple: don’t think twice: Happy Birthday Jacob is a play that has to be seen. It’s touching, it’s heart-breaking, it’s probably one of the best written and performed plays that you will see this year! See where I’m going with that?.. For more info or to book tickets: http://www.thenewtheatre.com/tnt_php/scripts/page/show.php?show_id=288&gi_sn=589af5e1ee950%7C0

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Theatre Upstairs: Hero

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A new season in Theatre Upstairs has started with what can only be described as one of the most touching love stories told by a man. Ken Rogan’s new play Hero is an absolutely breath-taking one hour piece about a love, loss and life as it happens sometimes.

Smithy (played by Daithi Mac Suibhne) is a good-looking single guy who enjoys just as much the big sport as the company of his best mates. And everything is going well for The Captain Smithy until one night the football pitch converts into a dance floor and he meets her, the girl who is to steal his heart forever. But he doesn’t know it yet. All that matters for the moment is that he, the man, gets her, the woman. Marissa studied law and bends her head the way that makes Smithy forget about everyone else. A couple of unoriginal cheeky chat up lines later, a kiss lands on her cheek that is to change everything… for Smithy. For Marissa life continues the way it used to be: occasional night out with a friend, facebook status updates, texting him when she’s had one too many. All this time, Smithy seems to be happy to fool around and to be fooled. But everything changes when he realises: she is the one, the true love he was looking for. And for the first time, he wants to tell her this using the actual words. But she doesn’t seem to understand. She just wants to have another round. The game has changed for Smithy. The stakes are as high as they have never been. But is he to win or lose this one?

A wonderfully structured piece that goes right through your heart doesn’t only benefit from Rogan’s masterful writing. The outstandingly passionate solo performance given by Daithi Mac Suibhne makes all the justice to the carefully crafted script. It’s all in the little, almost subtle, details that Mac Suibhne brought so skillfully to life with the help of Amilia Stewart, for whom Hero is none the less but a directing debut. Stewart added a very nice gentle female touch to a play both written and performed by a man. It made Hero not only better or different, but very diverse and with a certain grain of profundity .

The magic of the space that Theatre Upstairs is has been hugely enhanced by the absolutely smashing set (by Naomi Faughnan) and lighting (by Eoin Byrne) design. Such a beautiful game of light against the sparkling glass all throughout the piece is indescribable; the perfect example of something that no amount of words can paint and it simply has to be seen.

Once again Theatre Upstairs has exceeded all the expectations and brought to life a truly beautiful and tremendously touching production that has both elements of comedy and tragedy. A play that demonstrates clearly: a true love is always worth fighting for. In association with Lakedaemon, Hero runs till January 28th. For more info or to book a seat: http://www.theatreupstairs.ie/what-is-on

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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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Palace Theatre: Harry Potter and the Cursed Child (Part I).

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Would you call it dedication to sit in front of your computer for twelve straight hours just to book tickets for a play? But what if it’s not just for any play but a ticket to your childhood, to the place where letters were delivered by owls, where the good always won over the bad and where the-true magic existed!

It’s been nine years since the last book about the-boy-who-lived was published. It’s been five years since the last film about the unbreakable trio was released. It’s been a lifetime of a desperate belief that you too are a witch or a wizard, it’s just your letter to Hogwarts got lost on its way.

That’s not dedication, that’t just admiration and fandom. But what J K Rowling, Jack Thorne and John Tiffany did in Palace Theatre in order to give those avid Harry Potter followers a little bit of magic is a true dedication to the arts, to the literature and to their audience.

J K Rowling didn’t create one single fairytale. She changed childhoods of a whole generation, who went back from TVs to reading books and believing that “happiness can be found in the darkest of times, if one only remembers to turn on the light”.

When I read Harry Potter and The Cursed Child, I was somewhat disappointed. I did not like the story. I was more than skeptical to see it on stage. I simply did not believe that it would be possible to recreate that feeling of a different world that the books managed to beget. But, as a true fan, I waited those long twelve hours on the day of the ticket release. At twenty five I still desperately needed that kind of magic in my life. And when you finally hold that sacred golden ticket (almost like in Willy Wonka) for the play and queue outside of the Palace Theatre under a huge nest in order to to get in, you realise that you are not alone. Those emotions are shared by hundreds of likeminded people around you. People of all ages, nationalities and backgrounds are there.

I don’t know how to write a review on a play when the whole point is not to give anything away. I have promised to #KeepTheSecrets and I am going to keep this promise. After seeing the play you understand why the production team does not want any details to leak out. Harry Potter and the Cursed Child is an incredible experience. It’s more than a play, it’s a theatrical masterpiece. Everything, every single detail to the tiniest ones, is so thoroughly thought through that, at times, you will start questioning your ability to percept the action on stage. Am I really seeing what I am seeing?

The choreography of the piece is a pure paradise for eyes: from simple background activity to change of scenes. Steven Hoggett created such a visually rewarding piece that from an esthetic point of view it’s a movement paragon.

Only a few minutes into the play I realised why I didn’t like the book. It was never meant to be read (not as other Harry Potter books anyway), it’s meant to be seen. John Tiffany, who co-wrote the play and also directed it, knew very well what he was doing. He was creating a theatre piece that would be seen acted out.

And now I shall talk about a different kind of magic on stage. The amazing ensemble of over twenty five performers did all the justice to their corresponded parts. Take into account that it’s a two parter with each part lasting approximately two hours and a half. Also, take into account that the main characters are mainly children/teenagers. And obviously, it’s a live show. You watch the little ones almost with the same admiration as you would have watched Daniel Radcliffe, Emma Watson and Rupert Grint in their first Harry Potter films.

As for the parenting generation (it is very unusual to see them being grown up!), it’s just breathtakingly scary in a very good way how well some of the actors captured the essence of their characters. A huge amount of pressure is put on them not to deviate too much from the original story that the characters become completely unrecognisable (we did love them all this years for a reason, right?) or cut outs of the already created ones by somebody else but, at the same time, keep it fresh and… more matured, maybe. After all, it’s been 19 years.

It feels a bit unfair to single somebody out but I absolutely loved Noma Dumezweni as Hermione Granger and Alex Price as Draco Malfoy. Their portrayal of the famous Miss Know-It-All and the grown up Bouncing Ferret played an emotional chord with me when one could truly see the life being breathed back into the beloved characters.

Another important moment that I want to touch on is the stage (by Christine Jones), lighting (by Neil Austin) and sound (by Gareth Fry) designs. Thanks to this incredibly talented bunch, together with the illusionist Jamie Harrison, Harry Potter and The Cursed Child created a magical world on stage. Unfortunately, I can’t give a more precise example but the lost in admiration sighs coming from the audience all throughout the play were the best proof that sometimes even impossible is possible if somebody puts his/her mind to it… with a little but of good old theatre magic, of course.

The first part ends on such a cliffhanger that it’s impossible not to want to see the second part! So, I guess it’s time for another weeks and weeks of fishing on the HarryPotterThePlay website. Tickets do become available there from time to time but you always have to keep your eye on it. And for those of you who haven’t been lucky yet, remember that magic does exist and it’s very real. It just couldn’t be any other way!

For more info: https://www.harrypottertheplay.com/

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The Gate Theatre: Who’s afraid of Virginia Woolf?

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“When that big wolf came around only bricks and stone are wolf-proof”

– English Fable.

George (played by Denis Conway) and Martha (played by Fiona Bell) might be living in a house made of brick and stone but it doesn’t mean that they are safe from the big bad wolf. The dark creature has taken a different form and has already penetrated not only the house but also the minds of its inhabitants.

A dark, perhaps moon-less, night somewhere in New England. The  middle-aged disappointing underachiever George and his older with some clear daddy-issues wife Martha are clearly not on their first drink of the night. Soon the couple is joined by another – somewhat younger and much less bitter – couple of newcomers to the town: Honey (played by Sophie Robinson) and Nick (played by Mark Huberman), who is to work in the biology department of a small Ivy League university that Martha’s father is the president of and where George has been teaching history since before the war.

Edward Albee’s 1962 play is a fierce three hour piece almost completely consisting of  meaty raw dialogues and conversations. The lines are so masterfully written that they are like a game of ball which the characters are constantly throwing at each other. The point, of course, is not to drop the ball. Talking about games: the play is divided into three clear acts; each one of them could be represented by a fictional game that the characters play. Ironically the games consist of one of the characters mocking the insecurities and poorly-made life decisions of the another in a very cruel, selfish and disturbing way.

But the liquor cabinet is unfathomable in George and Martha’ house therefore the night of verbal abuse and human degradation continues. Who’s line is it anyway? What is it going to be: a smack or a smooch? Albee creates a locked room situation where instead of a house, each character is a prisoner of his or her own mind and past. Each one of them is trying to protect their own “roof” while provoking the beast all at the same time. So inevitably comes the moment when the big bad wolf comes along and starts blowing that roof off. But, given the chance, those piggies gladly become the wolf themselves.

Staged in the absolutely stunning decorations (by Jonathan Fensom) of a very realistic upper middle-class intelligentsia living room, the play is one hundred percent a success thanks to the snappy sharp acting and punch-perfect delivery of the lines. It’s not easy to bring up such an overloaded (in all senses) play and make it “can’t take my eyes off” type of watch but Bell and Conway are simply outstanding in this production. They create the kind of love-hate relationship situation that is fresh and magnetic. The highly skillful ensemble of four masterfully holds the tension and the drama for the whole three hours of the piece. The play does bear its moments of dramatic action and sudden comic relief in some of the most unexpected places.

So, if you think you are not afraid of the big bad wolf, then may The Gate Theatre be your house for the evening. Who’s afraid of Virginia Woolf?,directed by David Grindley, is back in The Gate Theatre by popular demand. This time around it has a very limited run of only nineteen performances with the closing date as soon as November 12th. For more info or to book tickets: http://www.gatetheatre.ie/production/WhosAfraidofVirginiaWoolf2016

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The Peacock Theatre: The Remains of Maisie Duggan

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One door closes just for another one to fly open. 18 days of first -class theatre are in full swing with Dublin Theatre Festival.

While The Abbey stage is about to open with Frank McGuinness’s new musical Donegal, the Peacock is enjoying its second week of provincial Irish surrealism. A new play by Carmel Winters – The remains of Maisie Duggan – is probably the perfect link between the grotesque fringe and the modern theatre festivals.

As any proper Irish story, this sharp 90 min piece unravels the string of life and misfortunes of the Duggans, a family from North Cork. No family is a proper family unless there is a boiling mixture of hatred, resentment and well tucked deep down inside love for one another. The Duggans aren’t an exception. Maisie, the mother of the family (played by Bríd Ní Neachtain), has a car accident which makes her believe (or rather wish for) that she is dead. In a terrible confusion in the post office involving an Eastern European newbie Maisie’s long estranged daughter, who is now living with the Salvation Army in London, receives a message on Facebook which simply states that her mother had died and funeral arrangements would follow. Booking a three day trip to her long forgotten homeland, Kathleen (played by Rachel O’Brien) finally steps on the wet Irish soil. The mad mother, the resentful and abusive father (played by John Olohan) and the slightly autistic brother (played by Cillian Ó Gairbhí) might be exactly the reason why Kathleen left in the first place. But she too has demons of her own and unresolved issues that she chooses to run from.

I don’t think it would be an underestimation to say that The Remains of Maisie Duggan is quite a dark play. Unimaginably controversial things happen on stage in plain sight. To mention but a few perfect examples of the thin border between fringeness and social taboo: urination on a new grave and death of an animal (not a real one though, but still!).

The Remains of Maisie Duggan is, it’s safe to say, a play unlike any other. Even though not a very realistic one but it portrays the essence of life in rural Irish community, the mentality of the country folk and the secrets well hidden behind the closed doors. It shows the existence of people for whom death is a better looking option than life. The play bears no buried metaphors, it openly shocks, unnerves and staggers the wildest of imaginations.

With the atmospheric set design (by Fly Davis), the Duggans house represents the border between this and the other life. Half-burned, half-neglected, it’s a portal to the afterworld. And something’s telling us that for people like the Duggans it just might not be heaven. But anything is better than hell on earth.

The lighting design (by Sarah Jane Shiels) reminded me a lot of the one elaborated for The Gate’s current production of The Father. Unfortunately for this play, Rick Fisher’s idea worked quite nicely for the kind of the piece The Father is, while in the case of The Remains of Maisie Duggan, it mostly blinds people who are already in a deep awe from what’s happening on stage.

Otherwise, quite an interesting viewing, The Remains of Maisie Duggan, directed by Ellen McDougall, is a very brave piece of theatre that will challenge the views of some of the audience members. Runs in the Peacock Theatre until October 29th. For more info or to book a chance of peeping through the closed curtains: https://www.abbeytheatre.ie/whats_on/event/the-remains-of-maisie-duggan/

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The Teachers’ Club: Franner and Joey

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Somewhere in furtherest corner of Dublin North Side unofficial theatre district, there is a tiny performing space in the basement, where every night for the past week two partners in crime, Franner and Joey, find their shelter from a robbery gone horribly wrong.

Little Shadow Theatre Company presents Franner and Joey, a tragicomedy about two twenty-something best pals and drug addicts. Petite crime hooligans looking for a big fish in a small pond, they attempt to steal a bag from an old lady. She fights back. Joey (played by Sean Sheppard), already half-high on the next fix, doesn’t give a second thought and pushes the woman. She falls on the ground and smashes her head. This wasn’t the plan at all. People start gathering. The two friends have to flee the scene. They end up on the roof of one of the buildings. Waiting for the commotion to settle down and keeping an eye on the updates on the old woman’s health (which can quickly convert them from street junkies into murderers), Franner (played by Adam Tyrell) have the whole night to reminisce about their past, dream about their future and fear the ugly present.

Franner and Joey tells the kind of story that usually never gets heard. Who cares about the junkies? Who wants to hear their side of the story? Do they have any right to have their side? In Eddie Naughton’s intense 60 min piece we are faced with the reverse side of the coin. And it’s tragic. But so real and human. Among other things Franner and Joey touch on such subjects as child abuse (both physical and verbal), broken families, drugs and alcohol overdose, premature death, etc.

Performed in a thick and easily recognisable North Dublin inner city accent, both actors do an amazing job in portraying their characters: the voices, the movement and the physicality are on an admirably high level in this piece. Being hugely convincing all throughout the play, they undoubtedly succeed in bringing across the nastiness and the dislikability that people like Franner and Joey would normally evoke in others. At the same time, Tyrell and Sheppard give their characters a human side, a reason and a tiny sip of hope.

The perfect atmosphere has also been created thanks to the great lighting (by Alan Lynch) and set design (by Alan Lynch and Donna-Marie Mahony). I like to think that theatre is probably the only place where a rooftop can be built in a basement. The team worked out the tiniest details, graffiti on the walls were my personal favourite. As for the lighting, it ideally matched the mood, especially when it came to the most intense scenes.

An uneasy piece of emotionally charged theatre that is presented in a very enjoyable way, Franner and Joey (directed by Kieran McDonnell) runs in The Teachers’ Club until October 8th. For more info or to book tickets: https://www.facebook.com/frannerandjoey/

 

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