Talking Movies

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?

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October 6, 2015

The Night Alive

Playwright/director Conor McPherson finally shepherds his award-winning play back to the city in which it is set, as a flagship of Dublin Theatre Festival 2015.

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The Night Alive opens with Tommy (Adrian Dunbar) being a good Samaritan, bringing Aimee (Kate Stanley Brennan) back to his flat after he sees her being assaulted. Well, flat… It’s the ground floor of a house, the upper floor being occupied by Tommy’s uncle Maurice (Frank Grimes). And the flat is in a shambolic state. When Aimee goes to the bathroom to wash the blood off her not-broken nose Tommy frantically tries to put manners on the place. So begins an interruption to his slovenly way of life, as Aimee stays on, causing Tommy to clash with Maurice as well as his literally slow-witted employee Doc (Laurence Kinlan); always 5 to 7 seconds behind everyone else on the uptake Tommy tells Aimee. But that’s as nothing to the hassle that Aimee’s boyfriend Kenneth (Ian-Lloyd Anderson) will cause for all concerned…

Alyson Cummins’ set is so festooned with layered rubbish that it’s as if Monty Python’s ‘Society For Putting Things On Top Of Other Things’ was charged by Tommy with the interior decoration. This is the state you get into when your wife throws you out, and it provides plenty of comedic material; “Which one’s the bin?” “Any of them”, “Come upstairs in ten minutes. I’ll boil you an egg that won’t give you botulism”, and Tommy offering Aimee a biscuit with her tea, which he happily tucks into, apparently oblivious to it being a dog biscuit. The pairing of Tommy and Doc are not unlike Martin McDonagh characters in their logical pursuit of utterly absurd questions, but there’s a serious vein too, as Tommy’s growing attachment to Aimee sees him attempt to renege on his responsibility for the unemployable Doc.

A live question because of some thoroughly nasty business with a hammer… There’s a sudden air of menace from the moment Ian-Lloyd Anderson appears in a spiffy cream suit. There’s a Pinter quality to his dialogue with Doc, but, as often with McPherson, also a whiff of sulphur; this inexplicable villain would give you an idle whack with a hammer, just to pass the time like. It’s almost as if he’s quite literally a necessary evil, to allow Tommy to be heroic in his own eyes – Finland! But true heroism, Aimee’s actions force him to realise, is accepting responsibility for your burdens; in his case Doc. But then McPherson inserts the idea that in heaven you don’t know you’ve died, it’s just like your life has finally clicked into its groove; which sounds regrettably like an ad for Molson Canadian.

The Night Alive recalls Our Few and Evil Days. A very funny play, with disturbing elements, that dazzles in performance; Kinlan is hilarious, and engaging in his vulnerability, Dunbar a tremendous well-meaning screw-up, Brennan nicely enigmatic, Grimes righteously cantankerous, and Anderson terrifying. It’s afterwards you feel there was something underdeveloped dramatically about it all.

4/5

August 4, 2015

Dublin Theatre Festival: 12 Plays

Tickets go on sale for the 2015 Dublin Theatre Festival at 10:00am Wednesday August 12th. Here are 12 shows to keep an eye on.

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The Night Alive 22nd September – October 4th Gaiety

Trailing clouds of glory from Broadway does Conor McPherson come. His new play, a co-production with Belfast’s Lyric Theatre, stars Adrian Dunbar and Kate Stanley Brennan as damaged souls beginning a tentative romance in the dodgy-geezer-land of Dublin that McPherson has made his own. Laurence Kinlan and Ian-Lloyd Anderson lead the supporting cast, and while tickets have been on sale for a while, some seats are still available.

Bailed Out! 23rd September – 4th October Pavilion

In case you’re not depressed enough by the ongoing farce in Leinster House you can soon head to Dun Laoghaire to see Colin Murphy’s follow-up to Guaranteed; an unlikely hit that ended up being filmed. Rough Magic regular Peter Daly and others bring to life, under Conall Morrison’s direction, official documents and unguarded interviews revealing how Ireland was troika’d. But, pace Fintan O’Toole, can documentation as agit-prop achieve anything?

At the Ford 23rd September – 3rd October New Theatre

Political ruminations of a fictional stripe will occupy the intimate surroundings of the New Theatre. Aonghus Og McAnally and rising star Ian Toner headline Gavin Kostick’s new play about a family coming apart at the seams as they struggle with the future of their business dynasty. Said dynasty imploding because of the sins of the father, so we’re promised critical analysis of Celtic Tiger via Celtic mythology.

Oedipus 24th September – 31st October Abbey

Sophocles’ resonant tragedy returns to the Abbey, but not in WB Yeats 1926 text or Robert Fagles’ spare translation. It’s a new version by director Wayne Jordan, who casts his Twelfth Night’s Barry John O’Connor as the Theban King. The great Fiona Bell plays Oedipus’ wife Jocasta, but after Spinning that doesn’t reassure, especially as Jordan’s directorial failings (especially leaden pacing and poor staging) have become embedded through critical praise.

A View from the Bridge 24th September – 10th October Gate

Joe Dowling returns from his long exile in Minneapolis to direct Arthur Miller’s 1955 classic. Chicago actor Scott Aiello plays Eddie Carbone, a longshoreman in Brooklyn who shelters illegals Marco (Peter Coonan) and Rodolpho (Joey Phillips), but when Eddie’s niece Catherine (Lauren Coe) falls for Rodolpho jealousy and betrayal loom. Dowling’s 2003 production of All My Sons was typically solid, and this should be equally polished.

Star of the Sea 24th September – 26th September Draiocht

Joseph O’Connor’s 2004 best-seller belatedly comes to town. This was a sell-out hit at last year’s Galway Arts Festival, and has just three performances at the theatre festival as part of a nationwide tour. This racy production is ‘freely adapted’ from O’Connor’s tale of lust and murder on a famine ship fleeing to America, in Moonfish’s Theatre trademark bilingual approach of performing in English and as Gaeilge.

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Hooked! 25th September – 10th October Various

Director Don Wycherley’s apparently become the go-to guy for the festival for touring theatre productions about whimsical goings on in the Irish countryside. This is a three-hander about a Dublin woman (Seana Kerslake) who moves to the country and rubs her neighbours (Tina Kellegher, Steve Blount) up the wrong way. Hilarity ensues. Secrets and lies are laid bare. A bit of comedy, a bit of menace, in four different venues.

The Last Hotel 27th September – 3rd October O’Reilly Theatre

Enda Walsh has written an opera! Music by Donnacha Dennehy is performed by the Crash Ensemble and the singers are led by star soprano Claudia Boyle, who starred in Mahoganny last year. The production team is that which brought us the demented Ballyturk, and Mikel Murfi even appears in a plot revolving around a man cleaning a blood-soaked hotel room and a couple fighting in a car-park.

The Train 6th October – 11th October Project Arts Centre

Well, here’s a gamble and a half. Rough Magic premiere a musical: book by Arthur Riordan, direction by Lynne Parker, music by Bill (Riverdance) Whelan. Previous Rough Magic musical Improbable Frequency was a hoot, but DTF plays with music Phaedra and Peer Gynt were deeply unsatisfying. This could implode, especially as the subject; importing contraceptives on a 1971 train; seems tailor-made for ‘liberals backslapping each other’ smugness.

Dancing at Lughnasa 6th October – 11th October Gaiety

25 years ago Friel’s masterpiece premiered at the theatre festival, and director Annabelle Comyn brings her Lyric production to the Gaiety to mark the occasion. Comyn’s regular design team are on hand to revive the bittersweet story of the Mundy sisters (Catherine Cusack, Cara Kelly, Mary Murray, Catherine McCormack, Vanessa Emme) with Declan Conlon as their returned brother. Comyn excels at blocking large casts so the dance entices…

The Curious Incident of the Dog in the Night-Time 6th October – 10th October Grand Canal

Tickets are becoming scarce for this flagship import from London’s National Theatre. Mark Haddon’s book was a masterful exercise in disguising almost total lack of substance behind flashy style, and writer Simon Stephens and director Marianne Elliott deploy every theatrical bell and whistle going to recreate the sleuthing mind of an autistic teenager, but can they add substance to the source?

The Cherry Orchard 7th October – October 10th O’Reilly Theatre

You haven’t experienced Chekhov till you’ve heard him in the original French. Ahem. Belgian collective tg STAN take on Chekhov’s final elegiac play, an obvious influence on Tom Murphy’s The House; as a peasant’s cunning sees him rise up to supplant the decaying aristocracy, then lament over the genteel way of life he destroyed. Playing straight through for 2 hours without an interval we’re promised unfussy intensity.

October 6, 2014

Our Few and Evil Days

Ciaran Hinds and Sinead Cusack, so successful in Juno and the Paycock back in 2011, reunite as a more contemporary but equally troubled married couple; whose headstrong daughter brings home an equally superficially attractive paramour.

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Michael (Hinds) and Margaret (Cusack) are a loving couple in a Dublin suburb who no longer share a bedroom. The wordless opening of both acts sees Michael come downstairs to wake her up, and then put away mattress and pillows and switch the pull-out bed back to a sofa while she dresses upstairs. Yet their obvious devotion to each other is noticed and commented on by unexpected visitor Dennis (Tom Vaughan-Lawlor), who has been placed in the awkward position of meeting the parents solo by Adele (Charlie Murphy) running off to help her friend Belinda thru yet another crisis. Dennis inevitably makes a faux pas, about Adele’s absent brother, Jonathan; something teased out, along with Belinda’s crises, when Adele arrives for a very late dinner. But when Adele leaves again Dennis is convinced to stay over by Michael, and so when Dennis gets up for a drink of water he falls over Margaret; and their conversation about Jonathan becomes… disturbing.

Our Few and Evil Days is hard to review without ruining the effect of Mark O’Rowe’s mischievous structure. My lead-in was mischievous in mentioning O’Casey, because this is clearly in the vein of two other playwrights. The interrupting and sharply back and forth dialogue owes a debt to David Mamet, and the stellar cast, once they’ve warmed up to it (almost), embrace its rhythms with gusto. Meanwhile Harold Pinter’s comedy of menace rumbles under the attempts of naively nice guy Dennis to make a good impression. As director O’Rowe is also mischievous, casting Ian-Lloyd Anderson against type as Belinda’s abusive boyfriend Gary, by muting the physical menace he displayed in Major Barbara and instead playing up epic self-pity. This is a solidly middle-class setting courtesy of Paul Wills’ fully functioning set; with stairs behind the glass doors from the sitting room to the hall, a laundry area behind the kitchen, and a working sink (the final pre-Irish Water set design?).

Unfortunately such an impressive deeply layered set necessitates the removal of the first four rows of seats, so row E gets pasted up against the stage; and during Dennis and Margaret’s pivotal scene sitting at the kitchen table you are listening to a table emote because you can’t see Margaret’s face at all… O’Rowe’s play comprises three scenes either side of the interval; but where uncomfortable comedy dominates the first act, Freudian nightmares, shouting matches, and pop-analysis dominate the second. This gives the impression by the end that some characters have merely acted as plot devices to push the most important characters into dramatic screaming matches, and that much of the comedy has been a red herring. This doesn’t really matter though when actors of the calibre of Hinds, Cusack, Murphy and Vaughan-Lawlor are giving it their all. Vaughan-Lawlor clearly relishes playing against ‘Nidge’, Cusack is endearingly earthy, Hinds is sympathetically conflicted, and Murphy impressively alternates between wounded and wounding.

O’Rowe’s script has a fearful symmetry, great comedy, and touches on true darkness, but is perhaps a bit too full of misdirection. It’s possible to see future productions simply fall apart with lesser actors.

4/5

Our Few and Evil Days continues its run at the Abbey until the 25th of October.

July 22, 2014

Dublin Theatre Festival: 10 Plays

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Hamlet 25th – 27th September Grand Canal Theatre

You haven’t appreciated Shakespeare until you’ve heard him in the original German. Ahem. Berlin’s Schaubuhne theatre troupe returns under the direction of Thomas Ostermeier for an acclaimed production of the Bard’s magnum opus. 6 actors play 20 roles in a production characterised by a spectacular stage covered in loose earth, turning to mud as actors hose it, and film each other for projection.

 

Zoo 25th – 28th September Smock Alley

Teatro de Chile present a one-hour lecture, of sorts. Two scientists inform you of their astonishing discovery, the last two Tzoolkman people; and then bend their brains trying to figure out how to preserve a culture whose central feature is imitation. So far, so Monty Python, but this is intended to be a serious problematisation of the idea of academic ‘performance’ in serious lecturing.

 

The Mariner 25th September – October 11th Gate

Hugo Hamilton appears to be the Gate’s go-to guy for the theatre festival. Following an adaptation of his Speckled People memoir he unveils an original script about an Irish sailor traumatised by the Battle of Jutland whose mute state inspires very different reactions from his wife and his mother. Patrick Mason directs, but how much insight can novelist Hamilton deliver in 90 minutes?

 

After Sarah Miles 26th September – October 11th Axis/Civic/Pavilion/Draiocht

Don Wycherley’s received nothing but rave reviews for his solo performance as fisherman Bobeen in Michael Hilliard Mulcahy’s new play about a fisherman remembering his life from teenage days in 1969 to the present. As the touring element of this festival Wycherley will appear in four venues as the fisherman who worked as an extra on the filming of epic Ryan’s Daughter.

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Our Few and Evil Days 26th September – October 11th Abbey

Mark O’Rowe takes on directing duties for his first original play in some years and he has assembled a stunning cast for it: Charlie Murphy, Ciaran Hinds, Tom Vaughan-Lawlor, Sinead Cusack, and Ian Lloyd Anderson. We’re promised that a devoted daughter will find out a shocking secret about her parents from a menacing stranger. Violence and poetically abrasive language ensues…

 

Ganesh Versus The Third Reich 1st – 4th October Belvedere

The most ambitious of the three Australian plays at the festival sees the Hindu God Ganesh embark on a journey to reclaim the Swastika from the Nazis, only for things to lurch away from fantastical epic into behind the scenes bickering; as an overbearing director fights with his cast over their right to use the most sacred elements of other cultures.

 

DruidMurphy 1st – 5th October Olympia

DruidMurphy’s trilogy of plays was a highlight of the 2012 Festival, and Garry Hynes returns for a second helping with Marie Mullen and Marty Rea still in tow. Not only will Tom Murphy’s 1985 classic of a dying matriarch, Bailegangaire, be revived, but Murphy has also written a new play Brigit which acts as a prequel by filling in the back-story of matriarch Mommo’s husband.

 

Spinning 1st – 12th October Smock Alley

Fishamble presents the great Karl Shiels in a new play by Halcyon Days playwright Deirdre Kinihan. He plays a man trying to hold onto a life coming apart at the seams, who unexpectedly meets a woman coming to terms with the senseless murder of her daughter. With a cast that includes Caitriona Ennis and Janet Moran this looks set to be an absorbing production.

 

Jack Charles V The Crown 8th – 12th October Samuel Beckett

I can’t help but think of this Australian one-man show as being an eccentric kin to Jeffrey Bernard is Unwell. Jack Charles was part of the Stolen Generation, and then became part of Koori theatre in the 1970s and a film actor; having been a cat-burglar, heroin addict, and convict in the meantime. He performs his life-story with unrepentant brio.

 

Book Burning 8th – 11th October Project

Belgium story-teller Pieter De Buysser tells the story of Sebastian, a man he met at an Occupy demonstration. Sebastian had become embroiled in a WikiLeaks scandal; and from there De Buysser, and his visual artist Hans Op De Beeck, spin out the implications of one man’s struggles to make Sebastian’s story a synecdoche for a new mode of being in the impersonal globalised world.

September 19, 2013

Major Barbara

Annabelle Comyn directs her third summer show in a row on the Abbey stage and, following 2011’s Pygmalion, makes a welcome return to Bernard Shaw.

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Shaw’s 1905 play begins with the imperious Lady Britomart (Eleanor Methven) initiating her shallow son Stephen (Killian Burke) into the shameful history of his millionaire father, arms manufacturer Andrew Undershaft (Paul McGann). Lady Britomart intends to tap Undershaft for marriage settlements for their daughters Sarah (Liz Fitzgibbon), engaged to upper class twit Charles Lomax (Aonghus Og McAnally), and Barbara (Clare Dunne), engaged to bohemian Greek scholar Adolphus Cusins (Marty Rea). She also hopes, by inviting Undershaft to meet his children for the first time in decades, to spark some paternal sentiment in him so that he will abandon the Undershaft tradition of disinheriting the lawful heirs in favour of settling the massive arms concern on a foundling. The unrepentant Undershaft, however, is more impressed by his daughter Major Barbara; who he makes swear to visit his arms factory if he visits her Salvation Army shelter. But which of their competing philosophies will overcome the other?

Major Barbara is dominated by the character of Undershaft and McGann rises boldly to the challenge. His entrance into Lady Britomart’s library, absolutely unsure as to which of the three men in it is his son, is expertly prolonged, and his delivery of his unscrupulous politico-economic philosophy jaded without being cynical; his very sincerity hinting at the need for new energy which the steely Barbara suddenly offers to him. Dunne’s fervour as Barbara, with undertones of despair, complements McGann’s nuance, while Methven Fassbenders as the Wildean matriarch insulting her son and prospective son-in-laws with arch put-downs. Burke does a fine job of Stephen’s indignation shading into admiration as he sees his father’s works, but comedic honours go to Aonghus Og McAnally and his repeated contention that whatever’s being discussed involves a good deal of tommyrot. Talking Movies favourite Rea makes his shady character a worthy foil to Undershaft, alternating between ecstatic acceptance and mulish rebellion.

But, far more than Pygmalion, this play engages with the poor of London. The elegant library, by Comyn’s regular set designer Paul O’Mahony, loses its refinement to become the facade of the Salvation Army shelter. Shaw presents the poor who despise being reliant on charity (Chris McHallem’s defeated Peter Shirley), the poor who play up their Christianity to cynically con charity (Emmet Kirwan’s sly Bronterre O’Brien Price), and the poor who only Barbara would tackle (Ian Lloyd Anderson’s truly menacing Bill Walker). This is a London haunted by the winter depression of 1886, and, even as Barbara and Walker clash rhetorically and physically over his rejection of salvation, the visiting Undershaft instructs the attentive Cusins in the employers’ interest in the Army keeping the poor content, but in their place. When Undershaft offers a massive donation to Mrs Baines (Fiona Bell) to help keep open the shelter, Barbara resigns rather than usefully employ tainted money.

And so the final act finds the library transforming into a munitions factory with a massive weapon as its centrepiece as Undershaft attempts to uphold the Undershaft tradition while yet employing his fiery daughter… Major Barbara runs for nearly three hours and is a dense play. Is Shaw satirising the Salvation Army as the acme of religious enthusiasm that horrified staid Victorians? Or merely challenging the Army to convert the rich because they will be more sincere as they do not need their charity? And then there’s the grenade he throws in of personal integrity getting in the way of the greater good. Does Barbara have a duty to accept money made from wrongdoing in order to serve the greater good? Given recent resignations of conscience and Trevor Sargeant’s 2007 resignation to allow his party enter government this is not an abstract Antigone dilemma. Undershaft’s seductive honesty is very Shavian, if he doesn’t believe something he won’t pretend to for the sake of social niceties; and so he magnificently flourishes the fact that his industry controls government. But are his actions consistent with his philosophy or is he as impetuous as Barbara, so Shaw’s calling for compromise not mad idealism?

These knotty questions can’t really be answered, and so this production of Major Barbara is to be commended for expertly maintaining the comedic undertone in its intense examination of the ever-relevant clash between private integrity and the public good.

4/5

Major Barbara continues its run at the Abbey until the 21st of September.

April 5, 2012

Alice in Funderland

The Abbey stages its first musical in 20 years, but if decades long moratoriums are the cost of keeping atrocities like this off the stage then it’s a price well worth paying…

Thisispopbaby bring their Project work-shopped contemporary musical take on Alice in Wonderland to the stage with Talking Movies favourite Sarah Greene in the title role. Her Alice is a hopelessly depressed Corkonian whose unfaithful boyfriend recently died from eating a peanut. Upset by the demand of her materialistic sister (a catty Susannah de Wrixon) that she be her bridesmaid, Alice has a bad reaction to a wedding rehearsal curried prawn and dreams herself stranded in a queered Dublin. As she stumbles across the city in search of Warren (Ian Lloyd Anderson) she encounters Carroll characters. The Caterpillar is a Dublin taxi-driver obsessed with British oppression, the Cheshire Cat is a corrupt politician, Tweedledee and Tweedledum are drug dealers, and… I don’t know what the Duchess is supposed to be. “I’d rather take advice from a f****** caterpillar sitting on a mushroom” is the level these references operate at; crude, unfunny.

Composer Raymond Scannell pens some memorable melodies. ‘We’re all going to Hartstown’ is nicely jaunty, the Duchess’ entry has nice shuddery techno under Carroll’s actual verse, and there’s a wonderfully poignant duet between Alice and The Gay (Paul Reid). But the fact that a character is actually called ‘The Gay’(!!) clues you that it’s not the music that’s the problem here. The first act’s wearying campiness is actually self-defeating. The Cheshire Cat as crooked politician sets up a rousing James Brown style number for the grinning Mark O’Regan about playing monopoly with the country’s future, but what could have been great satire can’t soar in this context and the attempt is quickly abandoned. Instead satire is directed at brave, original targets: The Pope, Blaithnaid Ni Chofaigh, Mary Harney. Satire punctures the pomposity of the powerful. Does a religious figure unlikely to be defended by the audience, a presenter who hasn’t been on air for over a year, and a retired politician strike you as powerful? Swift would guffaw derisively at attacking Harney not Phil Hogan, or singling out Blathnaid as the most scandalous element of RTE’s recent troubles. Attacking those targets is just pathetically easy, and that’s easily just pathetic.*

Philip McMahon’s book also irritatingly nods to the presence of the audience frequently for, again, no particular reason. Fourth wall breaches should be used sparingly (Tom Jones) or to the point of meta-textual madness (Slattery’s Sago Saga), but such pointlessness is hardly surprising as Alice runs for nearly 3 hours (including the interval) yet Sarah Greene is hopelessly upstaged by Kathy Rose O’Brien and Aoibhinn McGinnity because the script gives her nothing to do. McGinnity’s madly enthusiastic Chloe is one of the second act’s few saving graces, while O’Brien is hilarious impersonating Blathnaid and Fassbenders the Bob Fosse homage second act curtain-raiser number which is the closest this production ever feels to an actual musical…

The second act is unbearable. All the previously baffling campiness builds towards Tony Flynn’s domineering presence as Dolores, the Red Queen of Hartstown. I’ve seen the Rocky Horror Show. It’s joyous, and 90 minutes. I’ve seen Cabaret, working off Sam Mendes’ queered revival. It’s devastating, and 2 hours. Alice in Funderland fails by its own yardsticks… It’s 3 hours that degenerates into endless unfunny drag queen humour; line after line of witless comedy, whose staggering coarseness becomes incredibly tedious. The late appearance of the ‘Scissors Sisters’ is an amazing low point. I actually considered walking out, but figured such diva behaviour would only encourage the performers. The repeated chorus “We’re all torsos in the banal” is the most tasteless thing I’ve ever sat thru. It’s embarrassing to watch this on the stage of the national theatre in the same way that it’s embarrassing to see Mrs Brown’s Boys on primetime BBC. You urgently want to buttonhole the rest of the world and assure them, “All this…it’s not us. Underneath, we are more…”

If you see Alice, and don’t, feel free to leave at the interval if you’ve disliked the first act; the second act is ‘wretched beyond belief’… As I’ve tweeted, #Thisiscrapbaby.

1/5

Alice in Funderland continues its run at the Abbey until May 12th.

*If you think I’m bluffing about attacking the powerful then tune in next week when I stick it to hackers extraordinaire Anonymous who can break my poor blog like a twig.

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