Talking Movies

November 8, 2017

This isn’t my Desk

At Large Theatre move up from Trinity’s Players Theatre to the considerably larger space of Smock Alley’s main stage for a purposefully baffling office satire.

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Global Futures are hiring. What exactly Global Futures do is not clear. But they are hiring. And firing. Sometimes they get ahead of themselves, as when B (Darcy Donnellan) arrives in the office and nervously tries to find out what she should do from A (Alice ni Bheolain), only to disconcertingly find that she’s there to replace her, just as soon as Management (Maureen Rabbitt) throws her out of the building. New co-worker C (Ciaran Treanor) is completely unhelpful, locked as he is in a titanic struggle over regaining his rightful desk, Housekeeping (Dominik Domresonski, Sarah O’Farrell) are deliberately intrusive, but Documentation (Orla Devlin) is seductive and eternal. Well, mostly eternal, as a client visit signals a shake-up. Management begins to unspool completely under the stress, and only desperate measures, and intern seedlings can save the day.  Or maybe not.

Written and directed by Kate Cosgrave This isn’t my Desk almost serves as a bizarre and funny summation of a number of previous outings by these theatre-makers: Treanor’s role in The Trial, Donnellan’s turn in Nowhere Now, and artistic director Grainne Curistan’s own office satire The Meeting. There’s also a fleeting nod to Spike Jonze’s Her as B becomes enamoured of her documentation. I’m not going to pretend that I understood this play; my regular theatre cohort Fiachra MacNamara was equally unsure as to who exactly C’s poignant flashback monologues were about; but it really didn’t matter. Despite being frequently baffled I was always engaged and usually highly amused. Management’s climatic rant about her underlings was a comedic highlight to set beside C’s desk being downsized in a deft visual gag much to his subsequent emailed fury.

3/5

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June 27, 2017

June

New company Gorgeous Theatre launch with an almost entirely wordless production in the intimate surroundings of Trinity College’s Players Theatre.

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Bob (Noel Cahill) meets Alice (Helen McGrath). They hit it off, and from a romance that begins with childish enthusiasm they plan to go on a holiday away together in high summer. What could be more fun than swimming and building sand castles? But there’s something odd surrounding their preparations. Alice thinks she hears someone outside their door while they’re packing, but when Bob heroically leaps out with a knife to confront the lurking menace, there’s nobody there. But the enigmatic June (Emma Brennan) is indeed waiting, smoking, observing, manipulating, and getting ready to start interfering with gusto. Because far from being an innocent getaway for two, June insinuates herself, by ‘accident’, into their beach vacation, and soon the simple holiday is taking a distinct detour into surreal seductions in the vein of Pasolini’s Teorema or the Rocky Horror Show.

My regular theatre cohort Fiachra MacNamara confirmed the soundness of my initial flashbacks to the 2010 Edinburgh Fringe show The Ladder and the Moon, devised by Nessa Matthews, Ian Toner, and Eoghan Carrick. The mime of childish enthusiasm and romance was very similar, and may perhaps be inevitable when you try to convey such sentiments physically, but June is longer, darker, and more interested in the use of music than The Ladder and the Moon. There are indeed entire sequences set to music, like the Dave Brubeck Quartet’s ‘Take Five’ or Jens Lekman’s ‘Black Cab’, that veer almost from physical theatre to pure interpretive dance. Which is a bold move for a new company’s first show, given that people unapologetically walked out of Arlington at the Abbey recently; almost physically and ironically conveying the idea “I don’t do interpretive dance.”

Given this importance of music it should be no surprise there’s an almost Lynchian change in the soundtrack as the play progresses; a sunny, upbeat soundscape of Cliff Richard and Dave Brubeck is replaced by the moodiness of (perhaps) Chet Baker and the starkness of the Pixies’ ‘Hey’. Who is June? What is June? Daniel O’Brien’s story is more interested in raising questions like that than answering them, and director Ciaran Treanor plays on the contrast between June’s angelic white costume and her frequent disappearances into black space with a lit cigarette revealing her presence like a demonic eye. All of a part with the totemic but ambiguous action figures representing Bob and Alice. Cahill and McGrath perform some spectacular pratfalls in their energetic turns, and there is a delirious moment where melancholy music is actually revealed to be from a portable radio.

June is not going to appeal to everyone, but it is endearing throughout, with all three actors clearly giving it their all, and veers into unexpected territory right up to its ambiguous ending.

3/5

August 10, 2016

Edfringe Lift-off

At Large Theatre Company are taking three one-act shows to the Edinburgh Fringe Festival, and they did a warm-up in Players Theatre before leaving Dublin.

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Beryl

Beryl (Lesley-Ann Reilly) offers a very specialised service to gentlemen callers to her modest flat, but not what you think…

Frank (Alan Rogers) is an extremely diffident man, who seems continually on the point of bolting as if this was all a bad idea. Beryl meanwhile has more bonhomie than is needed for the two of them. The early interchanges in Lesley-Ann Reilly’s script entice us to understand this as a man paying for sex for the first time, before we realise it’s something entirely different: Beryl’s services are allowing men to dress in women’s clothes for the first time. But as Beryl draws Frank out of his taciturn shell, and he stalks about in high heels that remind him of his mother, proceedings take a dark twist as his guilt-ridden motive for availing of her services is laid bare.

Director Grainne Curistan keeps the potentially lurid subject matter nicely underplayed for the most part; a tense exchange where Beryl presses a glass of wine on Frank who does not want it recalls the power-plays in Pinter’s The Homecoming concerning a glass of water. A moment where Frank adjusts a scarf around Beryl becomes extremely menacing because Rogers is so successful at keeping Frank an enigma, lost in the mazes of his own mind – he may confess to past misdeeds but in the present he remains unknowable. Reilly’s turn is less cryptic. She is amusing and believable as a chatty Cathy but when Beryl forces Frank to confront his sins and competes with his guilt the performance becomes too outré.

Beryl is always engaging, but ultimately Beryl’s need to trump Frank’s crime by confessing a minor infraction of her own undermines its dramatic impact.

3/5

 

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The Meeting

Writer/director Grainne Curistan unfurls a perfectly normal, perfectly tedious business meeting that starts to go decidedly sideways to delirious effect.

The chairwoman (Elaine Reynolds) begins the meeting with all the confidence of Josh Lyman briefing the White House Press Corps in The West Wing, and it’s just as misplaced as her attempts to canter thru the agenda late on a Friday evening fall foul of her co-workers. Professional absentee Linda (Ann Hogan) is intent on querying a directive on actually replying to emails, Italian Antoine (David Breen) wants something actually done about the stupid f****** doors that keep hitting him in the face and he doesn’t care about not putting bad language on the agenda, and permanently out to lunch assistant Daisy (Kate Feeney) wants to create a taskforce to name the photocopiers to improve morale; the photocopiers’ morale. As squabbling intensifies Linda’s friend Stephanie Morris-Ni Shuilleabhain (Gillian Fitzgerald) arrives late and asks to be recorded as present, only to be trumped by an even later entrant – an enraged boss…

Linda and Daisy are delightful comic creations. Linda’s commitment to union procedures taken to the brink of madness could stand next to Peter Sellers’ I’m All Right, Jack shop steward without raising eyebrows. Indeed her devotion has taken boss Owen (Daniel O’Brien) over the brink of madness, hence his drunken arrival with a baseball bat. If one wants to quibble the lighting design leaves Owen in shadow too often and his roaring indignation runs out of dramatic road, but it transmutes into wonderful groaned apologies and acquiescence in the finale. Michael O’Kelly, Brendan Rooney, and John O’Rourke keep the more farcical elements grounded with their straight men. O’Kelly’s double act with Breen is a particular joy, as he repeatedly is forced to act as translator when Linda affects not to understand Antoine. Curistan’s script builds to a logically demented climax with a sensational and unexpected pay-off of an earlier element.

The Meeting is a hilarious one-act play, fleshing out nine characters whose grains of truth are magnified to comical proportions and loosed in absurdity.

4/5

 

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Nowhere Now

Writer/director Daniel O’Brien satirises international trade, media saturation, and macho posturing in a bizarre, inexplicable, theatrical, and memorable fever dream.

A trade deal is being done. A preposterous amount of beef is to be sold. Many people will make a lot of money. Other people will have no beef to eat. Everything waits upon the arrival of the Prime Minister. And so the Ambassador (Darcy Donnellan), the CEO (Kate Cosgrave), and the Minister (Yalda Shahidi) wait around a table for the PM to arrive and bring all their mind-bending travails to fruition. Meanwhile journalists and victims of the deal (played by Grainne Curistan, Noel Cahill, and Ciaran Treanor) eat from bowls, lie on the ground despairingly, and run about the stage with angel wings strapped to their backs – all part of the colour scheme of red and white that dominates.

Nowhere Now does not have a driving plot. What it does have is lashings of theatrical mood in the cod-Beckettian set-up of people waiting for an important individual who stubbornly refuses to appear as scheduled. Shahidi’s hapless functionary contrasts wonderfully with the swagger with which Donnellan dominates the stage. Donnellan’s interactions with Cosgrave, both women wearing white shirts, red braces and ties, flip from macho aggressiveness to a hyper-theatrical incantation praising the cows that form the meat of the deal; ending with a kiss that further complicates the gender-swapped Mametian shapes being thrown as Cosgrave seems both the secretary and the betraying executive from Speed the Plow. Curistan, Cahill, and Treanor meanwhile act out bizarre scenarios ranging from a lengthy list of excuses to go home that get increasingly demented, to a horrifying way to get your beef hit, and, in, a climax that is hysterically funny, the PM explaining ‘live’ (ahem) on radio that he’s come rather a cropper.

Daniel O’Brien’s hour of madness may not be everyone’s cup of tea. There are undeniably longueurs, indeed it probably doesn’t need to be an hour. Cahill and Treanor can be a bit too shouty at times, and in the finale resort to arm-clenching gurning in the background which distracts from the main action. But even with these reservations, O’Brien conjures spectacle from a colour scheme, draws out some great performances, and asserts the theatricality of not needing to make sense.

Nowhere Now in its most coherent moments resembles Speed the Plow assaulted by The League of Gentlemen, and betimes it’s visually striking and memorable.

3/5

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