Talking Movies

October 9, 2018

Richard III

DruidShakespeare finally makes it to the capital having kept the Henriad away, and yes, the wait has been well worth it.

Photo: Robbie Jack

Richard (Aaron Monaghan) has been sent into this world before his time, scarce half made up.  And in a time of peace after the Wars of the Roses he embraces the role of villain. With gusto, informing us of his scheming before he undertakes each deceit. His machinations against his brother Clarence (Marty Rea) are only the beginning of an escalating palace intrigue that will undo Buckingham (Rory Nolan), Hastings (Garrett Lombard), Rivers (Peter Daly), Lady Anne (Siobhan Cullen), and the little Princes in the Tower (Zara Devlin, Siobhan Cullen again), before it brings back a time of war and undoes Richard himself.

This is not a short production but its 150 minutes with interval gallops by so gripping does director Garry Hynes make the action. There are numerous moments throughout that change forever how you will read passages in the text. Whether it be Marty Rea’s incredible turn as Catesby, the fastidious assassin with his ritualised use of a captive bolt gun, or Garrett Lombard’s unexpected and sublime ‘Whoa’ worthy of Keanu Reeves as Hastings suddenly realises that the doors have shut, the extractor fan and fluorescent light has come on, and he’s the only one left on the stage along with Catesby – bogus.

5/5

Richard III continues its run at the Abbey until the 27th of October.

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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/

January 26, 2018

My Own Personal Theatre Awards 2017

“Then the greatness of our city brings it about that all the good things from all over the world flow in to us, so that to us it seems just as natural to enjoy foreign goods as our own local products” – Pericles’ Funeral Oration, Thucydides’ The History of the Peloponnesian War.

Best Production

Waiting for Godot (Druid/The Abbey)

The Effect (Project Arts Centre)

The Dumb Waiter (The Gate)

The Pillowman (The Gaiety)

I Hear You and Rejoice (The Pavilion)

The Man in the Woman’s Shoes (The Pavilion)

Tribes (The Gate)

 

Best New Play

The Effect by Lucy Prebble (Project Arts Centre)

I Hear You and Rejoice by Mikel Murfi (The Pavilion)

Tribes by Nina Raine (The Gate)

Autumn Royal by Kevin Barry (Project Arts Centre)

Mr Burns: A Post-Electric Play by Anne Washburn (Project Arts Centre)

This isn’t my Desk by Kate Cosgrove (Smock Alley)

 

Best Director

Garry Hynes – Waiting for Godot (Druid/The Abbey)

Ronan Phelan – The Effect/Mr Burns: A Post-Electric Play (Project Arts Centre)

Joe Dowling – The Dumb Waiter (The Gate)

Andrew Flynn –  The Pillowman (The Gaiety)

Geoff O’Keefe – King Lear (The Mill Theatre)

Catriona McLaughlin – Autumn Royal (Project Arts Centre)

Best Actor

Mikel Murfi – The Man in the Woman’s Shoes/I Hear You and Rejoice (The Pavilion)

Marty Rea – Waiting for Godot/The Great Gatsby (Druid/The Abbey & The Gate)

Aaron Monaghan – Waiting for Godot (Druid/The Abbey & The Gate)

Garrett Lombard – The Dumb Waiter (The Gate)

Lorcan Cranitch – The Dumb Waiter (The Gate)

Peter Gowen – The Pillowman (The Gaiety)

Philip Judge – King Lear (The Mill Theatre)

Donal Gallery – The Effect (Project Arts Centre)

 

Best Actress

Siobhan Cullen – The Effect/Crestfall (Project Arts Centre/The Abbey)

Rachel O’Byrne – The Great Gatsby (The Gate)

Clare Dunne – Tribes (The Gate)

Charlie Murphy – Arlington (Landmark/The Abbey)

Seana Kerslake – King of the Castle (Druid/The Gaiety)

Karen McCartney – Mr Burns: A Post-Electric Play (Project Arts Centre)

Rebecca O’Mara – Private Lives (The Gate)

 

Best Supporting Actor

Mark Huberman – The Great Gatsby (The Gate)

Nick Dunning – Tribes (The Gate)

Rory Nolan – Waiting for Godot (Druid/The Abbey)

Marty Rea – King of the Castle (Druid/The Gaiety)

Garrett Lombard – Waiting for Godot (Druid/The Abbey)

Gary Lydon – The Pillowman (The Gaiety)

Conor O’Riordan – Mr Burns: A Post-Electric Play (Project Arts Centre)

Michael David McKernan – King Lear (The Mill Theatre)

Gavin Drea – Tribes (The Gate)

Ronan Leahy – The Effect (Project Arts Centre)

 

Best Supporting Actress

Aoibheann McCann – The Great Gatsby (The Gate)

Fiona Bell – Tribes (The Gate)

Ali White – The Effect (Project Arts Centre)

Sharon McCoy – King Lear (The Mill Theatre)

Maureen Rabbitt – This isn’t my Desk (Smock Alley)

Liz Fitzgibbon  – A Statue for Bill Clinton (Belvedere College)

Nessa Matthews – Mr Burns: A Post-Electric Play (Project Arts Centre)

Best Set Design

Francis O’Connor – Waiting for Godot/Private Lives/King of the Castle/The Dumb Waiter/ (Druid/The Abbey & The Gate & Druid/The Gaiety & The Gate)

Owen MacCarthaigh – The Pillowman (Gaiety Theatre)

Ciaran Bagnall – The Great Gatsby (The Gate)

Molly O’Cathain – Mr Burns: A Post-Electric Play (Project Arts Centre)

Conor Murphy – Tribes (The Gate)

Jamie Vartan – Arlington (Landmark/The Abbey)

 

Best Lighting Design

James F. Ingalls – Waiting for Godot (Druid/The Abbey)

Ciaran Bagnall – The Pillowman (The Gaiety)

Jason Taylor – The Dumb Waiter (The Gate)

Kris Mooney – King Lear (The Mill Theatre)

Adam Silverman – Arlington (Landmark/The Abbey)

 

Best Sound Design

Carl Kennedy – The Pillowman (The Gaiety)

Greg Clarke – Waiting for Godot (Druid/The Abbey)

Declan Brennan – King Lear (The Mill Theatre)

Helen Atkinson – Arlington (Landmark/The Abbey)

Ivan Birthistle – Tribes (The Gate)

 

Best Costume Design

Peter O’Brien – Private Lives/The Great Gatsby (The Gate & The Gate)

Francis O’Connor – Waiting for Godot (Druid/The Abbey)

Joan O’Clery – The Dumb Waiter (The Gate)

The Costume Room – King Lear (The Mill Theatre)

Special Mention

Bryan Cranston – Network (National Theatre)

Well here we go again, including London in these awards, but an exception must again be made.

Cranston’s multi-faceted turn was a performance that made this play better than its cinematic precursor.

 

August 24, 2017

The Pillowman

Decadent Theatre Company again took over the Gaiety stage with Martin McDonagh’s trademark blend of macabre madness, but set in Mitteleurope rather than the Wesht.

 

Katurian (Diarmuid Noyes) is in deep trouble. Somebody in this unnamed (and semi-mythical) totalitarian state has been acting out particularly horrible short stories by a writer, and he’s the writer so he’s the prime suspect. Abrasive policeman Tupolski (Peter Gowen) and his thuggish underling Ariel (Gary Lydon) have Katurian prisoner in their Spartan barracks. And by Lenin if they have to beat the eyes out of his head and unsettle him with asinine nonsense they are going to make him confess. Unless of course he didn’t do it, but if not him then who; could his brain-damaged brother Michael (Owen Sharpe) really have done such horrible things? Would Tupolski really torture innocent Michael just to make Katurian confess? Why does Katurian write such horrible stories in the first place? And what does horrible parenting have to do with it all?

Owen MacCarthaigh’s deceptively simple set; almost a bare stage with desk, seats, cabinet, and furnace in a circle; spectacularly splits to reveal a house or woodland behind, dependent on which of Katurian’s tales is being silently played out (very broadly) by Jarlath Tivnan, Kate Murray, Peter Shine, Tara Finn, and Rose Makela. Ciaran Bagnall’s lights and Carl Kennedy’s sounds combine to create tableau during the most disturbing of these glimpses into Katurian’s dark imagination, the origin of his creativity. I saw The Pillowman in UCD Dramsoc in 2006 as a spare four-hander, so director Andrew Flynn’s visual extravagance here took me aback. It amuses and horrifies effectively, but also leaves the audience with less work to do. Sharpe’s sometimes camp mannerisms were also in stark contrast to Michael’s defeated stillness back in 2006, akin to Marty Rea’s recent Aston.

Pinter is a strong presence in this play. The first act is comedy of menace as Katurian is bewildered and intimidated by Tupolski’s odd interrogation. The second act is arguably McDonagh’s most soulful material ever, as the two brothers share a cell. The dark and comic invention of Katurian’s reimagining of fairy tales throughout remains astonishing, a highlight being the Pied Piper of Hamlein. And then there’s the third act where McDonagh seems to mash together Pinter and Orton; “I’m sick of everyone blaming their behaviour on someone else. My father was a violent alcoholic. Am I a violent alcoholic? Yes. … But that was entirely my choice”; but then deliver a tour-de-force entirely his own, Tupolski’s short story – which I still remembered chunks of 11 years later. It is outrageously offensive, and sadly it was clear the audience in the Gaiety was self-censoring itself, whereas in Dramsoc we had recognised it was of a part with Tupolski’s character and, having made that recognition, thereafter stopped tut-tutting and let out ears back to fully enjoy the verbal marvel McDonagh was constructing. Cruelty and callousness are part of comedy, perhaps inextricably so; it’s hard to imagine Swift or Waugh without them.

I still prefer some of the notes struck by Andrew Nolan’s Tupolski in 2006, but Noyes’ sincerity, Gowen’s swagger, and Lydon’s hidden decency make for an impressive central trio.

4.5/5

August 21, 2017

The Great Gatsby

When I came back from the Gate I wanted the whole theatrical world at a sort of attention to, providing seats. I wanted no more riotous excursions into costume parties.

Nick Carraway (Marty Rea) has just arrived in West Egg, and is invited by Jay Gatsby (Paul Mescal) to attend one of his Prohibition-be-damned ragers. There he meets his cousin Daisy (Charlene McKenna), her husband Tom Buchanan (Mark Huberman); an old Yale classmate; and their golfer friend Jordan (Rachel O’Byrne). Also floating around the Charleston’d chaos is the shady Meyer Wolfsheim (Owen Roe), Tom’s mistress Myrtle (Aoibheann McCann), her sister Kitty (Kate Gilmore),  Myrtle’s defeated husband George (Ger Kelly), and the protean one-man Repertory (Raymond Scannell). Over the course of an extremely long night (which makes pigswill of the chronology, content, and nuance of F Scott Fitzgerald’s novel) Jay meets Daisy, Jay re-woos Daisy, but his insistence on breaking Tom’s romantic hold on her backfires completely, and Jay loses Daisy all over again. And then his business and life too.

Designer Ciaran Bagnall has raised the floor, brought forward the Gate stage; creating a double staircase and a dummy roof; and floored over the back area to create two lobbies; one for piano, one for a bar. Into this space fit maybe 170 people, instead of the usual 371, but that’s probably recouped by selling themed cocktails to the audience; roughly 70% women, who were nearly 100% decked out in full flapper garb. And therein is one problem with this production – as my regular theatre cohort Stephen Errity put it: trying to make a fun night out from one of art’s great downers. Another is the ‘choose your own adventure’ book come to life aspect: we were led into Tom’s NYC apartment, Gatsby’s bedroom, and, after the interval, Wolfsheim’s gambling den. Only the first, mostly using Fitzgerald’s actual words, worked…

Fitzgerald…  If you think his point was decadent parties then you probably didn’t finish the novel, and should be at Film Fatale’s annual Gatsby party at IMMA. Rea and O’Byrne excel at athletically dancing the Charleston, but does it gain enough from the audience playing dress-up next to it to justify staging it this way and not on the stage as Elevator Repair Service did for their choreographed bacchanalia in The Select: The Sun Also Rises? Does it make sense to segue from Carraway’s opening speech to the closing peroration, and repeatedly mash together lines from anywhere, an egregious offender being George’s decontextualised references to God seeing everything? Does it make sense to have George Wilson be a barman, yet still have Tom’s yellow Rolls-Royce that he knows as a mechanic kill Myrtle? Does it make sense to pretend this is one night when Tom, Nick, and Daisy are observed (by some people) travelling to NYC, and Jay and Daisy’s agonised tea thus apparently happens in the wee small hours? We’re into Baz Luhrmann flashy incoherence here before we reach the musical numbers that pad the 2nd act as if a half-abandoned Moulin Rouge! musical of Gatsby is poking through.

Image result for the great gatsby the gate

The interval, 80 minutes in, found me sick of standing. 70 minutes later I was aghast that the handful of remaining scenes had been fleshed out by unnecessary musical numbers, the party had definitively gone on too long. Audience interaction had started highly amusingly when actors had to go with Nick being rumoured out of the Midwest by ‘a whole 4 people’, gone downhill with the utterly pointless preparation of the tea service, and degenerated to literal pantomime boos for Tom’s denunciation of the audience as uninvited and uninteresting. Actors bellowing at each other across a milling audience doesn’t synch with large parties being intimate nor make sense for Wolfsheim offering Gatsby a gonnegtion; indeed poor Roe’s main function appeared to be glad-handing groups of theatregoers. Scannell excelled at the piano providing mood music for Daisy and Jay’s fretful tea.

The costumes, designed by Peter O’Brien, are terrific; especially Gatsby’s spiffy pink suit. Yet the point of this show, imported from the Guild of Misrule’s original production with Alexander Wright still directing, seems to be that you, the audience member, dressed in your best flapper gear, are the show as much as the actors. Which rather deflates the great performances: Rea finds all new notes of nervousness as Carraway, who’s not as sardonic as he presents himself in narration, while O’Byrne is incredibly effective as Jordan, registering a disdain for the world which shines through her musical performances, and a fearless McCann renders her sultry Myrtle as the physical embodiment of Nelly Furtado’s ‘Maneater’. Huberman doesn’t have the hulking physique but is a startlingly good Tom replete with habitual dominance (and his moustache and projection reminded me of Keith Thompson!).

Nobody amidst the rave reviews for this bold and brave use of the Gate space seems willing to acknowledge the atavistic cruelty at work. The Gate audience, as has been widely remarked, is older, there are usually a notable number of walking sticks; and the new regime welcomes them by shouting – there are no seats, dance! What exactly did they do to deserve this opprobrium? They didn’t like Crestfall, which the Irish Times just savaged for depravity. They did like Ralph Fiennes in Faith Healer and Michael Gambon in No Man’s Land. They appreciate opulent costumes, clever set design, and, recently, acclaimed productions of titanic Albee and Murphy classics. Yet for these hanging offences they must be run off the premises, the Gate is trying to run a the-a-tre here! It is strange to burn your audience while feigning bonhomie…

Rea, O’Byrne, McCann, and Huberman were all splendidly cast, but I’d liked to have seen them in a coherent adaptation of The Great Gatsby.

3/5

 

The Great Gatsby continues its run at the Gate until the 16th of September.

August 16, 2017

Dublin Theatre Festival: 5 Plays

This is the 60th anniversary of the Dublin Theatre Festival, but this year’s programme is not very good; in fact it’s the weakest I can remember since I started paying attention back in 2007 and the 50th anniversary iteration when Druid presented James Cromwell in Long Day’s Journey into Night.

Tribes 28th September – October 14th Gate

English playwright Nina Raine’s acclaimed work about a deaf youngster’s emotional battles with his highly-strung family gets a puzzling relocation from Hampstead to Foxrock, as if Hampstead was in a faraway country of whose people we knew little. Fiona Bell, Clare Dunne, Nick Dunning, and Gavin Drea are among the familiar faces throwing around hyper-articulate insults while director Oonagh Murphy makes her Gate debut.

Melt 28th September – October 8th Smock Alley Theatre

Lynne Parker directs a new script by Shane Mac an Bhaird which has attracted an impressive cast of Owen Roe, Rebecca O’Mara, Roxanna Nic Liam, and Charlie Maher. Set in Antarctica it follows rogue Irish ecologist Boylan, his young colleague Cook, his love interest Dr Hansen (ex-wife of Boylan), and their discovery from a sub-glacial lake – Veba. Rough Magic promise a fairytale!

The Second Violinist October 2nd – October 8th O’Reilly Theatre

Composer Donnacha Dennehy and writer/director Enda Walsh reunite following their opera The Last Hotel with Crash Ensemble again providing the music, while the chorus of Wide Open Opera and actor Aaron Monaghan join the fun. Jamie Vartan again provides a set on which for 75 minutes physical madness of a presumably ineffable nature can play out, to a Renaissance choral backdrop.

Her Voice October 10th – October 11th Samuel Beckett Theatre

A Japanese riff on Samuel Beckett’s Happy Days sees Keiko Takeya and Togo Igawa directed by Makoto Sato; who has also designed the set and stripped away all the words from Beckett’s scripts save his numerous stage directions to get to a new kernel of the piece as Takeya conveys Winnie’s rambling monologues of memory purely through gesture and facial expression.

King of the Castle October 11th – October 15th Gaiety

Director Garry Hynes and frequent collaborators designer Francis O’Connor and lighting maestro James F. Ingalls tackle Eugene McCabe’s 1964 tale of rural jealousy. Sean McGinley’s Scober MacAdam lives in a Big House in Leitrim, with a large farm and young wife, played by Seana Kerslake. But their childless marriage sees rumours swirl amidst neighbours Marty Rea, John Olohan, and Bosco Hogan.

May 20, 2017

Waiting for Godot

The Abbey, in its new baffling role of an Irish Wyndham’s Theatre, hosts Druid’s hit 2016 production of Samuel Beckett’s debut; and it’s incredibly impressive.

Broken down gentlemen Vladimir (Marty Rea) and Estragon (Aaron Monaghan) find themselves in a desolate landscape, waiting beside a blasted tree for a meeting with possible benefactor Godot. Their attempts to pass the time; or hang themselves, whichever seems more practicable; are aided by the unexpected arrival of the pompous domineering Pozzo (Rory Nolan) and his silently suffering servant Lucky (Garrett Lombard). Vladimir is outraged by Pozzo’s treatment of Lucky, hauled about roughly on a leash, but Lucky’s speech soon puts paid to his sympathy… And then night falls and a small boy appears and tells them Godot will not be coming, but that he will certainly see them the next day; if they would be so good as to wait again. Which they obligingly do, not without grumbling at the futility of their lot; and then nothing happens, again.

Waiting for Godot, like Hamlet, is a play full of quotes; especially if you’ve studied Irish literature. Yet for all our familiarity with this text, this production offers surprises. Director Garry Hynes slows proceedings down to allow Beckett’s comedy take centre stage, with Rea very deliberate over the care of his boots and hat; as proud of his meagre wardrobe as Chaplin’s Little Tramp. There is also some very funny business as three hats circulate with increasing rapidity and exasperation; Beckett as slapstick. Nolan unexpectedly plays Pozzo as first cousin to his Improbable Frequency John Betjeman, and it works incredibly well; the preening behaviour culminating in a self-tickled ‘Managed it again!’ to Rea, on sitting down again, which deservedly brought the house down. Lombard, meanwhile, stands up from his whimpering to achieve a career highlight: delivering Lucky’s insane, fast-paced monologue.

Designer Francis O’Connor displays his recent fascination with presenting action within a monumental white frame having also used that motif for the Gate’s The Father. On the playing stage there is an artfully wretched tree, stones akin to a Zen garden’s denizens, and a comically wonderful moon that suddenly rises when night falls. Indeed James F. Ingalls’ lighting design not only casts the play into night in a manner that is both haunting and subdued, it also makes the very landscape of the set seem to change quality; a properly Zen effect. If Barry McGovern, Johnny Murphy, Stephen Brennan, and Alan Stanford, immortalised in Beckett on Film, represented a company personally endorsed by Beckett, then these Druid repertory players are affirmed by their own passion and soulfulness; Monaghan’s shattered vulnerability and anguish seems to physically embody post-war guilt and questioning.

It is hard not to feel watching this production that something remarkable has happened before your eyes: the torch has passed triumphantly to a new generation of Irish actors.

5/5

Waiting for Godot continues its run at the Abbey until the 20th of May.

April 8, 2017

Private Lives

The Gate celebrates its regime change by producing a Noel Coward play. Plus ca change, and all that drivel, darling.

Our man Elyot (Shane O’Reilly) arrives at a spiffy hotel in old Deauville for a second honeymoon, as it were, this being his second marriage. His present wife Sibyl (Lorna Quinn) tediously cannot stop talking about his previous wife Amanda (Rebecca O’Mara) and do you know the damndest thing happens; doesn’t she turn out to be staying in the very next room with her present husband, dear old Victor (Peter Gaynor). Whole thing is most extraordinary… Would you credit that their balconies even adjoin?! Sibyl and Victor make themselves so beastly when Elyot and Amanda both independently try to escape this positively sick-making set-up that it really serves them right when El and Am decide to simply decamp together to their old flat in Paris to avoid all the unpleasantness. But the course of true love never did run smooth…

Coward’s ‘intimate comedy’ is a sight too intimate for its own good here. One misses the variety afforded by recent hilarious outings by waspish ensembles for Hay Fever and The Vortex at the Gate. Instead we have a four-hander, and for the whole second act largely a two-hander, where you keep wondering if director Patrick Mason was foiled in casting his regular foil Marty Rea by the latter’s touring commitments. Mason and Rea have triumphed with Sheridan, Stoppard, Coward, Wilde, and you feel Rea urgently needs to play Elyot before he ages out. O’Mara and Quinn are patently too old for their parts, and it makes great bosh of Coward’s script if the naive 23 year old that Elyot flees to here is obviously thirtysomething, while instead of seeking the stolidity of an older man Amanda has married a contemporary.

O’Reilly is nicely abrupt as Elyot, but he and O’Mara never quite reach the heights for which these parts are constructed. But they deliver a wonderfully choreographed fight, chaos so exploding you feel it must topple offstage.  Tellingly the audience reacted with shock when he pushed her, but laughed when she broke an LP over his head… Francis O’Connor’s set design reuses familiar elements (The Father, Waiting for Godot) but its transformation from art deco hotel to primitive chic flat is a marvel and delight. There are also divine musical jokes as Coward’s ‘20th Century Blues’ plays between acts, and Rachmaninov’s 2nd Piano Concerto (the soul of Coward’s Brief Encounter) mixes with Hitler on the wireless. And did anyone from the Gate see Gaynor in Hedda Gabler? He can do bombast well, but subtle even better; give him a chance!

This, then, is how the Gate Theatre as it was during the Age of Colgan ends, not with a bang but a whimper, and what rough beast slouches towards the Rotunda to be born?

3/5

Private Lives continues its run at the Gate for ever so long.

March 27, 2017

My Own Personal Theatre Awards 2016

It seems odd that Irish theatre should be so ruled by just one set of awards, especially when they have such transparent biases. Someday perhaps someone with the necessary money, reach, and prestige will set up an alternative to the Irish Times Theatre Awards. In the meantime here’s my 2nd annual Theatre Awards, pitched as a corrective; like the Film Top 10 is pitched somewhere between the mid-1990s Oscars and MTV Movie Awards; operating under the fervent aspiration that what is good ought be popular and what is popular ought be good.

Best Production

The Plough and the Stars (The Abbey)

Northern Star (Project Arts Centre)

Who’s Afraid of Virginia Woolf? (The Gate)

The Beauty Queen of Leenane (The Gaiety)

Observe the Sons of Ulster Marching Towards the Somme (The Abbey)

Othello (The Abbey)

 

Best Director

Lynne Parker – Northern Star (Project Arts Centre)

Sean Holmes – The Plough and the Stars (The Abbey)

Garry Hynes – The Beauty Queen of Leenane (The Gaiety)

Jeremy Herrin – Observe the Sons of Ulster Marching Towards the Somme (The Abbey)

Joe Dowling – Othello (The Abbey)

Annabelle Comyn – The Wake (The Abbey)

Ethan McSweeny – The Father (The Gate)

Best Actor

Denis Conway – Who’s Afraid of Virginia Woolf? (The Gate)

Marty Rea – Othello (The Abbey)

Owen Roe – The Father (The Gate)

Peter Macon – Othello (The Abbey)

Phelim Drew – Kings of the Kilburn High Road (The Gaiety)

Gary Lydon – The Weir (The Pavilion)

 

Best Actress

Fiona Bell – Who’s Afraid of Virginia Woolf? (The Gate)

Aisling O’Sullivan – The Beauty Queen of Leenane (The Gaiety)

Cathy Belton – Helen & I (Civic Theatre)

Derbhle Crotty – Juno and the Paycock (The Gate)

Lisa Dwyer Hogg – After Miss Julie (Project Arts Centre)

 

Best Supporting Actor

Marty Rea – Juno and the Paycock/The Beauty Queen of Leenane (The Gate/The Gaiety)

Rory Nolan – Northern Star (Project Arts Centre)

Darragh Kelly – Northern Star (Project Arts Centre)

David Ganly – The Plough and the Stars (The Abbey)

Paul Kennedy – Observe the Sons of Ulster Marching Towards the Somme (The Abbey)

Aaron Monaghan – The Beauty Queen of Leenane (The Gaiety)

Neill Fleming – Hamlet (The Mill Theatre)

Brian Doherty – The Wake (The Abbey)

 

Best Supporting Actress

Marie Mullen – The Beauty Queen of Leenane (The Gaiety)

Janet Moran – The Plough and the Stars (The Abbey)

Eileen Walsh – The Plough and the Stars (The Abbey)

Ali White – Northern Star (Project Arts Centre)

Sophie Robinson – Who’s Afraid of Virginia Woolf? (The Gate)

Caoimhe O’Malley – Juno and the Paycock/The Constant Wife (The Gate/The Gate)

Darcy Donnellan – Nowhere Now (Players Theatre)

 

Best New Play

The Father by Florian Zeller (The Gate)

The Meeting by Grainne Curistan (Players Theatre)

Nowhere Now by Daniel O’Brien (Players Theatre)

Helen and I by Meadhbh McHugh (Civic Theatre)

 

Best Set Design

Paul O’Mahony – The Wake (The Abbey)

Jonathan Fensom – Who’s Afraid of Virginia Woolf? (The Gate)

Francis O’Connor – The Father/The Beauty Queen of Leenane (The Gate/The Gaiety)

Ciaran Bagnall – Observe the Sons of Ulster Marching Towards the Somme (The Abbey)

Riccardo Hernandez – Othello (The Abbey)

Gerard Bourke – Hamlet (The Mill Theatre)

 

Best Lighting Design

Paul Keogan – Observe the Sons of Ulster Marching Towards the Somme/The Plough and the Stars (The Abbey/The Abbey)

Sinead McKenna – Othello/Juno and the Paycock (The Abbey/The Gate)

Rick Fisher – The Father (The Gate)

Kris Mooney – Hamlet (The Mill Theatre)

 

Best Sound Design

Emma Laxton – Observe the Sons of Ulster Marching Towards the Somme (The Abbey)

Philip Stewart – The Plough and the Stars (The Abbey)

Denis Clohessy – The Father (The Gate)

Ferdy Roberts & Filter Theatre – A Midsummer Night’s Dream (Grand Canal Theatre)

 

Special Mention

Pippa Nixon – The Tempest (The Globe)

I’m loath to include anything I saw in London in these awards, but an exception must be made here.

Nixon’s commanding turn as Ariel was one of those performances that upend your perception of a play.

October 29, 2016

The Beauty Queen of Leenane

Druid revisit Martin McDonagh’s startling debut 20 years after its debut and the result is spellbinding.

marty-rea-as-pato-dooley-photo-by-stephen-cummiskey-770x513

Maureen (Aisling O’Sullivan) lives a tormented life, continually at the beck and call of her dishevelled, demanding, hypochondriac mother Mag (Marie Mullen). There is little to look forward to this in emotionally barren Wesht. The visits of Aaron Monaghan’s easily bored neighbour are the only thing keeping the two women from each other’s throats. And then he arrives to invite Maureen to a do, at the behest of his brother Pato Dooley (Marty Rea). Pato and Maureen make a connection, much to the displeasure of Mag, and the stage is set for an attempt at escape and an attempt at confinement.

It’s been some years since I saw Nessa Matthews and Molly O’Mahony perform the script in UCD Dramsoc at a fast pace, so what was most noticeable about the playing here was the patience of Garry Hynes’ direction. Rea’s show-stopping monologue, writing the most rambling letter home from London imaginable, became a comic tour-de-force simply because he was allowed to pause so much effect. At the other end of the dramatic scale, the most disturbing scene in the entire play was allowed to build slowly, so that dread filled the Gaiety; the inimitable sound of 2,000 people holding their breath.

5/5

The Beauty Queen of Leenane continues its run at the Gaiety until the 29th of October before beginning a tour of North America.

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