Talking Movies

June 30, 2016

The Wake

Director Annabelle Comyn revives another late Tom Murphy play at the Abbey, but unlike The House in 2012 this chaotic script proves impossible to tame.

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Vera (Aisling O’Sullivan) returns unbidden to her home in the West for an auction of the hotel she has inherited. But a conversation with neighbour Mrs. Conneeley (Ruth McCabe) about the true circumstances of a death in the family leads her to decide on an unusual course of action. She falls back into the bed of disreputable ex-boyfriend Finbar (Brian Doherty), scandalising her siblings Mary Jane (Kelly Campbell), Tom (Lorcan Cranitch), and Marcia (Tina Kellegher). Their attempts at coming to a compromise are scuppered by Marcia’s husband Henry (Frank McCusker) appointing himself emissary, and making such a good job of his negotiations on behalf of the siblings that he ends up occupying the hotel with Finbar and Vera, and conducting a three day bacchanalia with all lights on and curtains open in the hotel located in the town’s main square.

The Wake is a marvel of clever staging, as a backdrop of stars at night becomes a map of Tuam, while a very narrow playing space progressively deepens, until eventually the fateful hotel itself rises out of the Abbey’s trapdoors. All typical of Comyn and her set designer Paul O’Mahony, but what’s atypical is this Murphy script; which is undoubtedly the least controlled and most chaotic of the six Murphy plays I’ve seen performed. Mary Jane and Tom never convince for a second as real characters, while Finbar and Henry, though both played with considerable charm, often lapse into (respectively) D’Unbelievables homage and speeches that sound like debating positions rather than The Gigli Concert’s character-driven philosophical musings. At times it appears Murphy is in some demented fashion mashing up Shaw’s Mrs Warren’s Profession with his own Conversations on a Homecoming.

This feels like a rough draft rather than a completed piece. The depression afflicting Tom’s heavily medicated wife Caitriona (Nichola MacEvilly) is, barring one sinister moment, played for laughs. The priest Fr Billy (Pat Nolan) is an ineffectual hail-fellow-well-met eejit, a cleric currying favour with the bourgeoisie; sketched in by Tom and Mary Jane in the most primary colours imaginable. Vera’s American inflexions and catchphrases rehearse supporting character Goldfish’s confused cultural identity in Murphy’s subsequent play The House but are far less effective. And O’Sullivan is further ill-served by the woeful misjudgement of Vera repeatedly flashing the audience. The wake’s songs and recimitations are authentic but feel interminable as they drag out the running time, an insult made injurious when they don’t build to anything because Murphy flounces out of the promised destructive climax necessary to impose some dramatic purpose.

There are some fine performances in The Wake, and much good dramatic content, but it drowns beneath the state of the nation speechifying and dramatic flab of ramshackle scripting.

2.75/5

The Wake continues its run at the Abbey until the 30th of July.

August 7, 2012

The Plough and the Stars

Director Wayne Jordan reprises his acclaimed 2010 production of O’Casey’s old warhorse, but, even with returning stars Joe Hanley and Gabrielle Reidy on good form, this fails to ever soar…

O’Casey’s final Abbey play sees the 1916 Rising explode into the lives of the extended Clitheroe family and their tenement neighbours. The socially ambitious Nora Clitheroe (Kelly Campbell) is cordially disliked by her neighbours Mrs Gogan (Deirdre Molloy) and Bessie Burgess (Gabrielle Reidy). Cordial dislike also exists within the extended Clitheoroe clan as the preening Citizen Army member Uncle Peter (Frankie McCafferty) is tormented by the Young Covey (Laurence Kinlan) for placing nationalism above socialism. Ignoring these political discussions is Jack Clitheroe (Barry Ward) whose pride has seen him resign from the Citizen Army on being passed over for promotion. However, when it’s revealed that he was promoted, but Nora hid the letter because she wanted him out of danger, Jack furiously leaves her to join a monster rally that stirs the patriotism of even the disreputable Fluther (Joe Hanley). But though the Rising has begun Nora isn’t finished yet…

This show lacks the comic vim of recent O’Casey productions, and this makes it feel slow-paced. Peter and the Covey just don’t strike sparks the way they should, and without that relationship being totally anarchic Nora is no longer trying to keep order in a madhouse but is merely trying to social climb within a tenement, which makes it difficult to empathise with her. Nora’s line “What do I care for th’ others? I can only think of me own self”; an attitude that would’ve brought the French Revolution to a shuddering halt; becomes uncomfortably emblematic, especially as it immediately precedes her pleading with Jack to come home,utterly oblivious to the disturbing squib-enhanced suffering of his dying comrade. Thankfully Hanley is very funny as Fluther, and Reidy very skilfully executes O’Casey’s most complicated character as she lifts the curtain on Burgess’ constant abrasiveness to reveal an equally generous heart.

Kate Brennan’s grimly realistic costume and make-up as the prostitute Rosie Redmond is contradicted by the overly self-performative turn she gives alongside Tony Flynn’s complementarily pouting barman. The effect is disorienting, and when the viciously combative Burgess and Gogan arrive into this milieu it defeats Casey’s satiric intent in juxtaposing Pearse’s rhetoric with poverty the new republic would not ameliorate. The high-flown idealism of the Man in the Window becomes a relief from such petty squalor. The unflattering juxtaposition caused riots in 1926 but here the blood-thirsty speech is instead rendered only slightly more extreme than Jefferson’s “The tree of liberty must be refreshed from time to time with the blood of patriots and tyrants.” Oddly enough its genuinely rousing effect is counterpointed by the production’s most moving moments being the unseen troops singing ‘It’s a Long Way to Tipperary’ as they march past on their way back to the hell of the trenches, and the two English Tommies climactically crooning ‘Keep the Home Fires Burning’. The latter moment saves an act almost ruined by an imaginary window within Tom Piper’s steel scaffolding set being established then sloppily ignored…

This is a decent show overall albeit with serious flaws, but in the wake of tremendous renditions of The Silver Tassie and Juno and the Paycock ‘decent’ can only disappoint.

2.5/5

The Plough and the Stars continues its run at Belvedere College until the 15th of September.

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