Talking Movies

June 26, 2019

Constructing a Theatrical To-Do List

Repetition has been on my mind lately via the Atlantic, and a morbid awareness of how little time is left to repeat anything courtesy of two people who’ve been mentioned hereabouts before. One had calculated they’d passed the tipping point where they’d now lived for longer than they had left to live. The other declared that they didn’t really re-read books – at 20 a year the odds were against reading another thousand of them. This was followed by a disavowal of angst over picking a thousand worthy books in favour of Jack Reacher whenever in felt right. There will now follow some characteristic angst on my part in which I try to pick not books but worthy plays to attend.

‘[INSERT NUMBER] [INSERT ARTWORKS] To See Before You Die’ books are two a penny, and I’ve fallen into their orbit once by request. But I’ve always found those titles superficially morbid. This piece aspires to be rigorously morbid. I’m not going to furnish a list of plays with blurbs, nor playwrights with blurbs, I’m going to be a bit more practical. Suppose that I have thirty years left of theatre-going. It’s not a bad supposition. I highly doubt that in my sixties I will have the interest, energy or ability to haunt theatres in the way I have in the past few years. It is therefore highly probable that the attendance of these plays will be frontloaded towards the first decade and a half. Suppose that I was to attend six plays a year. At an average price of 30e per play that’s 180e a year, or put another way those six plays have an opportunity cost of seeing 30 films a year for 6e in the Ormonde on Wednesdays.

I find that I have only ever been to twelve Shakespeare plays: Hamlet, Macbeth, Othello, King Lear, Richard III, The Tempest, Romeo and Juliet, Much Ado About Nothing, Measure for Measure, Twelfth Night, A Midsummer Night’s Dream, and As You Like It. But I have been to several different productions of several of those titles. That’s half the problem with Shakespeare in Dublin compared to Shakespeare in London, the struggle to get to more than a handful of titles. I have decided for myself thirteen more Shakespeare plays I aspire to see in the theatre, which group nicely as the Henriad, the Romans, and the somewhat comical: Richard II, Henry IV: Parts One and Two, Henry V, Titus Andronicus, Coriolanus, Julius Caesar, Antony and Cleopatra, The Merchant of Venice, The Winter’s Tale, Love’s Labours’ Lost, The Merry Wives of Windsor, and The Taming of the Shrew. And I can live with not making it to Troilus & Cressida, The Comedy of Errors, The Two Gentlemen of Verona, and the rest.

And this is before grasping the thorny issue of bad productions… I have seen superlative productions of Three Sisters and The Cherry Orchard. I consider those Chekhov boxes firmly ticked, leaving only Uncle Vanya and Ivanov to go. But… that the production I saw of The Seagull was less a production of Chekhov than a dumpster fire of an ensemble’s Chekhov scripts. So The Seagull goes out of the inbox and back into the To-Do List. And the same holds true for Shakespeare: Romeo and JulietMeasure for Measure, Twelfth Night, A Midsummer Night’s Dream, and As You Like It all need revisiting to hit upon a production that feels halfway towards being definitive.

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December 9, 2018

Any Other Business: Part XXI

What is one to do with thoughts that are far too long for Twitter but not nearly long enough for a proper blog post? Why round them up and turn them into a twenty-first portmanteau post on matters of course!

Move over Chekhov, here’s Gresham: bad writing drives out good

I was very late in catching up with Westworld given that I loved Jonathan Nolan’s previous TV show Person of Interest. However, if I had watched the pilot of Westworld unaware of who was behind it I would have never have guessed Nolan, J. I was stunned at how humdrum to lousy so much of the dialogue was, and floored by the immediate and lasting awfulness of the British writer character. Indeed to critique Westworld I find myself digging into the Talking Movies archives for my review of Safe Haven, where I complained “one-note characterisation is far too prevalent,” and find myself grimacing that yes, one could level the same charge against the most acclaimed, epochal, cerebral TV show of our age. But then we come to my complaint regarding Cobie Smulders’ character in Safe Haven: “Indeed the shallowness of the writing is such that it allows an infuriatingly connived third-act reveal, infuriating because it relies on one particular shallow characterisation without realising that hiding it behind shallow characterisation all around hurts the film.” Jonathan Nolan and Lisa Joy clearly thought they were doing an awesome job of hiding two cards up their sleeves, but dropping hints. The problem being that if your hint that Bernard is a host is that he seems to be unconcerned about the whereabouts of his deputy then you as showrunners should probably be more concerned about the whereabouts of your characters. Why on earth should I worry that Bernard doesn’t seem worried that his deputy has gone missing when this show left two technicians at knifepoint by Thandie Newton’s character, and then never came back to them for the bulk of an episode? If forgetting about characters afflicts the writers of the show who’s going to notice it in one of their creations? What’s worse is that jumping a scene almost with Thandie Newton leaves it very unclear why the techs continue to play ball after they’re no longer at knifepoint.  But as that’s vital to the season arc, it’s just glossed over. And so I end up drawing comparisons between the writer of Memento, The Prestige, The Dark Knight, and Person of Interest, and Nicholas Sparks…

September 9, 2018

Notes on The Seagull

The Seagull belatedly swooped into cinemas Friday. Here are some notes on’t, prepared for Dublin City FM’s Sunday Breakfast with Patrick Doyle early this morning.

The impecunious teacher Semyon (Michael Zegen) loves the sullen housekeeper’s daughter Masha (Elisabeth Moss), who loves the temperamental young writer Constantin (Billy Howle), who loves the flighty girl next door Nina (Saoirse Ronan), who loves the cynical famous writer Trigorin (Corey Stoll), who is the lover of the self-absorbed great actress Arkadina (Annette Bening), who had an affair with the dashing doctor Dorn (Jon Tenney), who the downtrodden housekeeper Polina (Mare Winningham) still loves after all these years by the lake. No wonder the master of this chaotic Russian dacha, Sorin (Brian Dennehy), feels that he has never truly lived in his 60 years because he never got married or became a writer but ground away in the government bureaucracy till he had ground himself down. But grinding people down is what life does, as Constantin and Nina painfully discover…

If you can’t steal The Seagull from the role of Masha then you’re not awake. Elisabeth Moss is wide awake.

May 16, 2018

RIP Tom Murphy

I attended Dancing at Lughnasa at the 2015 Dublin Theatre Festival mere days after the death of Brian Friel. That production served almost as a wake, and Graham Price and I mused then that Tom Murphy was now Ireland’s greatest living playwright. Alas, now he is taken from us too.

I studied The Gigli Concert for my MA in Anglo-Irish Literature & Drama. I didn’t really get it, nor did I think that, despite patches of undoubted brilliance, it really worked overall. Only for Frank McGuinness to pronounce that often Murphy’s work didn’t read very well, it had to be performed to really come alive. I remember scratching my head at the time about that. My unspoken objection was: how would you ever know something was worth performing if you had to perform it first to see its quality? Frank McGuinness, of course, knew best. 2012 saw a feast of Murphy on the Dublin stage and I reviewed three of those productions here. First out of the blocks was Annabelle Comyn’s revival of The House, which dripped Chekhov, and a savagery in characterisation and theme when tackling emigration. But savagery in Murphy hit its high water-mark at the very beginning with A Whistle in the Dark, which formed part of DruidMurphy’s repertory at the Dublin Theatre Festival. The primal violence of A Whistle in the Dark brutalised the Gaiety’s substantial capacity into a stunned silence. It still remains one of my most vivid theatrical memories. And then, in a marvel of repertory, the same cast turned their hands to the serious comedy Conversations on a Homecoming; with Rory Nolan and Garrett Lombard morphing from the two scariest brothers in Whistle to an amiable duffer and the village intellectual scrapper respectively.

Druid returned to the Murphy well for a striking production of Bailegangaire a couple of years later. President Michael D Higgins was in attendance when I saw it with Graham Price and Tom Walker who summed it up perfectly as ‘Happy Days as Irish kitchen sink drama’. It is startling to think in retrospect that Murphy’s classic was packing out the Gaiety, when it represented such a collision of the avant-garde with the popular mainstream. When the Gate finally broke its duck and presented The Gigli Concert as its first foray into Murphy’s oeuvre the same thing happened: packed audiences, to the extent that the play was brought back for a second run. Graham Price reviewed it on the second run, to add a corrective to what he felt was my insufficiently admiring review from the first time round. I realised that it did work better in performance than it read, but still didn’t think it was the ne plus ultra of Irish drama. And then I ended my belated exploration of Murphy’s work where I began, with Annabelle Comyn directing on the Abbey stage in the summer. But The Wake was a very different proposition than The House.  Comyn threw practically every Bat-tool in the director’s utility belt at it but Murphy’s rambling script proved ungovernable. But for all that there was still much brilliance shining thru the wreckage. Not bad for a play written in his early sixties.

I have a personal hit-list of key Murphy plays left to see: A Crucial Week in the Life of a Grocer’s Assistant, The Morning after Optimism, and The Sanctuary Lamp. Now, whether anyone other than Druid will put them on in this current cultural climate is sadly quite another matter.

https://fergalcasey.wordpress.com/2012/07/27/the-house/

https://fergalcasey.wordpress.com/2012/12/04/a-whistle-in-the-dark/

https://fergalcasey.wordpress.com/2012/12/04/conversations-on-a-homecoming/

https://fergalcasey.wordpress.com/2014/10/07/bailegangaire/

https://fergalcasey.wordpress.com/2015/05/28/the-gigli-concert/

https://fergalcasey.wordpress.com/2015/11/23/the-gigli-concert-3/

https://fergalcasey.wordpress.com/2016/06/30/the-wake/

September 20, 2017

Kingsman: The Golden Circle

Director Matthew Vaughn helms a hasty sequel to his Mark Millar absurdist spy fantasy which sadly displays its hasty production.

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Our hero Eggsy (Taron Egerton) is waiting for a Kingsman cab when he is attacked by old rival Charlie (Edward Holcroft); unexpectedly, because he was presumed dead, and didn’t have a bionic arm. Said ‘arm’ leads to Eggsy and Merlin (Mark Strong) being the last Kingsmen standing, and having to seek help from their American cousins, the Statesmen. They get a gruff reception from Agent Tequila (Channing Tatum), but a warmer welcome from Merlin’s opposite number Ginger Ale (Halle Berry) who has developed a maguffin for dealing with headshots. Et voila – despite Colin Firth being shot in the head last time out – Harry lives! But will Harry recover his memories and his co-ordination in time to save the world from the depredations of drug baron Poppy (Julianne Moore) or does his distrust of Agent Whiskey (Pedro Pascal) bespeak incurable paranoia?

This sequel was written by Vaughn and Jane Goldman, but the tone is off; right from the twisted but not funny use of Chekhov’s meat-mincer in Poppy’s introduction. The fact that Eggsy and Merlin face the same Kingsmen apocalypse in this first act as the original’s third act feels very lazy, as does the Hollywood cliché for raising stakes in the finale.  This is a bloated movie: Tatum is barely in it,  Jeff Bridges even less so, and the impulsive jackass President played by Bruce Greenwood (!) feels like a late Trump-bashing addition to the script; especially his final scene which is a transparent and asinine piece of wish fulfilment. The running time could be trimmed by removing Elton John; his foul-mouthed temper-tantrums in support add nothing. Indeed all the swearing lacks the purposeful artistry of a McDonagh or Mamet.

A notably bombastic yet unmemorable score is punctuated by ecstatic uses of Prince’s ‘Let’s Go Crazy’ and John’s ‘Saturday Night’s Alright for Fighting’ for elaborate fights as Vaughn relentlessly searches for but never really finds an action sequence to equal the church brawl from the original. Like The Matrix Reloaded, physical reality is traded for bullet-time and CGI, and the magic of choreography is lost. Oddly the most effective use of music is the most muted; John Denver’s ‘Country Roads’ for an all guns blazing character moment. Hanna Alstrom’s Princess is now Eggsy’s girlfriend, possibly as a response to criticism, yet Poppy Delevingne’s femme fatale Clara is subjected to even more tasteless comic use than Alstrom was… Moore’s super-villain has an interesting plan; but you feel Vaughn and Goldman understand it to articulate something meaningful that they never actually articulate.

This strains to equal the fun quality its predecessor had naturally, but, despite many misgivings, there are enough good action sequences, gags, performances, and uses of pop to make this worth your cinema ticket.

3/5

November 6, 2016

The Seagull

Corn Exchange took over the Gaiety for a flagship show of the Dublin Theatre Festival; Anton Chekhov’s first masterpiece, The Seagull, in a new version.

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The impecunious teacher Semyon (Stephen Mullan) loves the sullen housekeeper’s daughter Masha (Imogen Doel), who loves the temperamental young artist Constance (Jane McGrath), who loves the flighty girl next door Nina (Genevieve Hulme-Beaman), who loves the cynical famous writer Trigorin (Rory Keenan), who is the lover of the self-absorbed great actress Arkadina (Derbhle Crotty), who had an affair with the dashing doctor Dorn (Louis Lovett), who the downtrodden housekeeper Polina (Anna Healy) still loves after all these years by the lake. No wonder the master of this chaotic Russian household, Sorin (Stephen Brennan), feels that he has never truly lived in his 60 years because he never got married or became an artist but ground away in the government bureaucracy till he had ground himself down. But grinding people down is what life does, as Constance and Nina painfully discover…

Eto Ne Chekhov.

When a company tweaks the work of Joyce, O’Neill, and Chekhov in successive festivals, and in each instance produces a misfiring production, the fault must lie with the company.

1.5/5

October 3, 2016

A Midsummer Night’s Dream

Director Sean Holmes returns to the Dublin after his bold version of The Plough and the Stars some months back, but this show seems to indicate he was on his very best behaviour for that…

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The implacable Duke of Athens Theseus (Harry Jardine) is distracted from his upcoming nuptials to Hippolyta (Cat Simmons) by romantic problems in his court, specifically the complaint of Egeus (Ferdy Roberts) that Lysander (John Lightbody) has wooed his daughter Hermia, despite Egeus sanctioning her betrothal to Demetrius. Hermia and Lysander run away to the forest beyond the writ of Theseus, but a jealous Helen (Clare Dunne) betrays her erstwhile friend Hermia by telling Demetrius of this deception. As the four lovers stumble thru the forest they fall foul of the machinations of quarrelling fairy royal couple, Oberon and Titania (Jardine and Simmons again). Oberon, aided by his faithful spirit Puck (Roberts again), amuses himself toying with the mortals’ affections, and humiliates his Queen into the bargain by making her fall in love with Bottom (Fergus O’Donnell), transformed into a donkey.

Well, that’s the plot of A Midsummer Night’s Dream. But Holmes and co-director Stef O’Driscoll don’t seem to have much interest in that. Instead the focus is on Ed Gaughan as Peter Quince, Fergus O’Donnell as Bottom, and Keith De Barra as Keith the gentlest drummer in Wicklow three years running – aka The Mechanicals. Who doesn’t love a high concept ditched at the first sign of trouble? Well, I don’t when a large portion of the running time is spent in setting up the conceit that O’Donnell is a Mancunian musician stepping in from the audience to keep the show going after we’ve been told guest star Brendan Gleeson is trapped in a lift and can’t play Bottom so the show can’t go on, and that concept then fades into air, thin air, after generating too much ‘meta-fiction’ hot air.

To paraphrase GK Chesterton, I will not say that what occurred at the Grand Canal Theatre the other night was a production of A Midsummer Night’s Dream, but rather a mixture of stand-up comedy, slapstick nonsense, sub-D’Unbelievables audience interaction, and musical numbers, into which iambs from A Midsummer Night’s Dream were introduced from time to time with a decent show of regularity. If, like Blackadder, you cannot find comedy in Shakespeare’s comedies, you don’t have to do them; you can do something else instead, maybe something that’s more your cup of tea, like Noises Off. I gave tgSTAN’s Cherry Orchard and Holmes’ Plough & Stars enthusiastic standing ovations, but I did not stand and clap this, because to deliver a bold and vibrant interpretation of a classic it is first necessary to engage with the actual text of the classic.

Cat Simmons was magnificently cast as Titania, someday I hope to see her perform the role in a production of A Midsummer Night’s Dream.

2.5/5

July 31, 2016

Dublin Theatre Festival: 10 Plays

Tickets go on sale for the 2016 Dublin Theatre Festival at 10:00am on Tuesday August 16th. Here are 10 shows to keep an eye on.

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Helen & I 27th September – October 1st Civic Theatre

The great Annabelle Comyn decamps to Druid to direct an original script by newcomer Meadhbh McHugh. Rebecca O’Mara is the ‘I’, returning home to fence with older sister Helen (Cathy Belton) as their father lies dying. It’s always great when Druid tour, and hopefully this will be a return to form for Comyn after the bafflingly praised debacle of The Wake.

 

A Midsummer Night’s Dream 28th September – October 1st Grand Canal

Sean Holmes, responsible for the recent, storming Plough & Stars in the Abbey, returns with co-director Stef O’Driscoll for a Shakespearean rampage. This looks to be very much a ‘This was not Chekhov’ production, but in the best sense, as the text is stripped down to 90 minutes, with live grunge band, nerf gun battle, and an epic food fight.

 

Don Giovanni 29th September – October 2nd Gaiety

Roddy Doyle has for some reason decided to update the libretto to Mozart’s opera about the womaniser par excellence. Eyebrows must be raised at the amount of ‘versions’ he’s doing versus original writing in recent years. Pan Pan’s Gavin Quinn will be directing, while Sinead McKenna follows up her acclaimed diabolist lighting design for The Gigli Concert’s finale with some bona fide operatics.

 

The Father 29th September – October 15th Gate

Just when Michael Colgan had lurched into self-parody by programming The Constant Wife he conjures an ace from nowhere: a piece of new writing from France that has swept all before it on Broadway and Piccadilly. Ethan McSweeney directs Owen Roe as a man suffering from Alzheimer’s, while the supporting cast includes Peter Gaynor and Charlotte McCurry, and Francis O’Connor is set designer.

 

Guerilla 30th September – October 2nd Project Arts Centre

It wouldn’t be a festival without some fellow PIIGS getting bolshy about neo-liberalism, the failure of Europe, and the age of austerity. This year it’s El Conde de Torrefiel company from Spain, presenting the confused inner universe of a group of people inhabiting the same city and collective consciousness, represented by projected text over an electronica concert, Tai Chi class, and conference.

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Death at Intervals 4th October – October 8th Smock Alley

Trailing clouds of glory from its Galway premiere comes an adaptation of Jose Saramango’s novel directed by Kellie Hughes. Olwen Fouere is the grim reaper in retirement, accompanied by her faithful musician Raymond Scannell. Death likes to dance too. A mixture of music, theatre, and dance, with Scannell also co-composing with Alma Kelliher; but he did also compose Alice in Funderland

 

Alien Documentary 4th October – October 8th Project Arts Centre

I’ve read this production’s pitch repeatedly and I’m damned if I can figure out what it is. Director Una McKevitt is apparently mixing transcriptions of real people’s conversations with invented dialogues of her own imagining, so that’s her writing credit sorted. But what exactly is this show? PJ Gallagher, James Scales, and Molly O’Mahony having unconnected deep/comic conversations for 90 minutes?

 

The Seagull 5th October – 16th October Gaiety

Writer Michael West and director Annie Ryan together fashion a modern version of Chekhov’s tale of unrequited loves starring the oft-Fassbendering Derbhle Crotty as well as Genevieve Hulme-Beaman who shone in support in the Abbey’s You Never Can Tell. But will this Corn Exchange production be as hit and miss as their version of Desire Under the Elms that severely downsized O’Neill’s ambition?

 

Donegal 6th October – 15th October Abbey

Frank McGuinness’s new musical/play with music/musical play sounds unfortunately like a pilot for the Irish version of Nashville, as a fading country music star is threatened by a new talent she must curry favour with for her own survival. Director Conall Morrison specialises in exuberance, and grand dames Deirdre Donnelly and Eleanor Methven appear beside Once’s Megan Riordan, but can McGuinness make a comeback?

 

First Love 12th October – 16th October O’Reilly Theatre

Reminding us why he was important before the age of austerity Michael Colgan directs Gate stalwart Barry McGovern in a solo Beckett outing. This time they head up the road to Belvedere College for a Beckett novella turned into a one-man show about a rather existentialist-sounding refusal of a man to fall in love with a woman who’s in love with him.

April 20, 2016

The Plough and the Stars

The Abbey curtains up second in the curious case of the duelling Sean O’Casey productions for the 1916 centenary, but their rendition of his 1926 provocation surpasses the Gate’s Juno.

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O’Casey’s final Abbey play depicts the Rising exploding the lives of the extended Clitheroe family and their tenement neighbours. The socially ambitious Nora Clitheroe (Kate Stanley Brennan) is cordially disliked by her neighbours Mrs Gogan (Janet Moran) and Bessie Burgess (Eileen Walsh). Voluble dislike exists within the Clitheoroe clan as preening Citizen Army peacock Uncle Peter (James Hayes) is tormented by the Young Covey (Ciaran O’Brien) for his ignorance of true socialism, and ridiculous garb. Ignoring these political spats is Jack Clitheroe (Ian-Lloyd Anderson) who resigned from the Citizen Army on being passed over. However, when it’s revealed he was promoted, but Nora hid the letter from him, Jack furiously leaves her to join a monster rally whose Pearse-derived rhetoric stirs the patriotism of even the disreputable Fluther (David Ganly). The Rising sets the scene for looting and Nora’s undoing…

English director Sean Holmes has spoken of how he approached the text as if it was a Shakespeare play, not bound by its period. This aesthetic is evident everywhere, from Jon Bausor’s intimidating steel staircase with multiple landings, to Catherine Fay’s modern dress costumes including hardhats, via Paul Keogan’s disruptive lights which render the Figure in the Window a glare from a big screen in a pub, to Philip Stewart’s thumping music between acts, and it pays off in spades. Needless to say this is all very much ‘Not Chekhov’ to reference the multiple audience walkouts back in October at a similarly radical take on The Cherry Orchard. But it works, and works gloriously. Consumptive Mollser (Mahnoor Saad) singing the national anthem at the start of the show (in a transparent bid to bring the audience to their feet at every performance) before coughing blood; Fluther, Mrs Gogan, and Mrs Burgess all directly cajoling and heckling the audience; Fluther robbing cans and puncturing one which sprays the audience before he desperately tries to drink it hands free – all these touches bring a Shakespearean vividness and rambunctiousness that casts these characters in a new light. Fluther’s drinking, whoring, and disdain of piety and patriotism becomes Falstaffian, Hotspur and Lady Percy hover over the abrupt parting of the Clitheroes, and King Lear shimmers over the finale’s madness and dead bodies, not least because O’Casey’s final kick in the teeth does in his more abrasive version of Cordelia.

4.5/5

The Plough and the Stars continues its run at the Abbey Theatre until the 23rd of April.

Have you read Jenersky’s Thesis on the Origin, Development, and Consolidation of the Evolutionary Idea of the Proletariat?

February 25, 2016

Austerity and the Arts

The Journal has compiled a handy guide to various political pledges on arts funding. But take all with the caveat of Pat Rabbitte’s infamous slip on farcically utopian bait-and-switches, “Sure isn’t that what you tend to do during an election?”

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Brian Eno’s John Peel lecture at the British Library last year excoriated politicians, especially the Tories, for wanting to bask in the reflected glamour of cultural icons, and boast about the money such activity makes for Britain, both in its own right and in attracting tourists via a sheen of national creativity, without ever wanting to invest in it. According to him these people believed artists magically appear, and start providing a return without requiring any initial capital outlay; an impressive economic conjuring trick to be sure. Whereas, he pointed out, Roxy Music would not have come about without a previous generation establishing a whole gamut of public investment in the future: the NHS, Arts Schools, libraries, galleries, museums, and the dole. According to the Social Democrats there has been a 55% cut in arts funding since 2008 in Ireland. Such cuts dramatically change the cultural current. Take Annabelle Comyn.

Annabelle Comyn was the founding artistic director of Hatch Theatre Company in 2004. She directed a number of contemporary British plays (by Martin Crimp, Dennis Kelly, David Greig, and Zinnie Harris) with regular collaborators including set designer Paul O’Mahony, sound designer Philip Stewart, and actor Peter Gaynor. Then in 2009 Hatch Theatre Company saw its grant slashed from €90,000 to €20,000. After that there was no funding for any projects submitted, and Comyn, who had also directed Joe Penhall’s Blue/Orange and Caryl Churchill’s A Number for the Peacock in 2006 and 2007, took the hint. As she told the Irish Times in a 2014 interview “I remember thinking that the work I had done with Hatch – predominantly contemporary British plays – wouldn’t get funding.” So began two years in which one of Ireland’s best theatre directors didn’t work as a director.

And then Abbey artistic director Fiach Mac Conghail offered her the chance to direct Pygmalion at the Abbey’s main stage in 2011. So began a new phase of Comyn’s career. Her version of Shaw’s comedy emphasised that Henry Higgins really is stripping Eliza Doolittle not just of her accent, but her station in life; and even personality; and irresponsibly remaking her to his own whims. The coldness of Charlie Murphy’s Eliza to Higgins in their final scenes captured the accompanying intellectual transformation he had not counted on, and was an unexpected touch. 2012 saw her back on the Abbey main stage reviving Tom Murphy’s 2000 Abbey commission The House. This Chekhovian tale of social climbing and the frustrations of returned emigrants in the 1950s saw Comyn add new strings to her bow as she blocked 13 people for a chaotic drunken speech and fight. Comyn’s interpretation of Murphy’s melancholic character study with barbed commentary on societal failure saw her win Best Director at the Irish Times Theatre Awards. And yet…

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A director who specialised in premiering contemporary British plays is now (with the exception of 2012’s The Talk of the Town) exclusively reviving classic texts. A cultural current in Irish theatre has been diverted, and you can be sure that nobody returned to Dail Eireann after tomorrow will have as a priority allowing it to resume its original course. Does it matter? Well, John McGahern, the Irish novelist par excellence, would not have become the writer he was had he not been exposed to the works of Flaubert, Camus, and Hemingway. It matters if our theatrical landscape suddenly has a Berlin wall of austerity erected cutting off consistent interaction with new British writing. In the grand scheme of things cutting a €90,000 grant has had a larger effect than the latter-day Gladstone who made that retrenchment could ever have imagined.

To quote the two voices at the end of GK Chesterton’s The Napoleon of Notting Hill:

“What could have happened to the world if Notting Hill had never been?”

The other voice replied—

“The same that would have happened to the world and all the starry systems if an apple-tree grew six apples instead of seven; something would have been eternally lost.”

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