Talking Movies

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.

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May 3, 2016

Northern Star

Director Lynne Parker revisits her late uncle Stewart Parker’s 1984 script again, with a Brechtian touch, and the result is a theatrical tour de force.

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Henry Joy McCracken (Paul Mallon) is on the run. The 1798 Rebellion has failed miserably in Antrim as he has found himself leading literally dozens of men, to exaggerate slightly. And exaggerating slightly is something McCracken does a lot during a purgatorial night in a ruined house with his Catholic lover Mary (Charlotte McCurry). As he attempts to construct some sort of decent speech from the gallows for the citizens of Belfast he trawls through his memories of the 1790s, remembered in flashbacks that approximate to Shakespeare’s 7 Ages of Man and to the style of 7 different Irish playwrights. There is the ribald shenanigans of Sheridan in rooting out informers, the melodramatic balderdash of Boucicault in uniting Defenders and Orangemen, and the witty quips of Wilde in McCracken’s dealing with Wolfe Tone and Edward Bunting. But there’s also darkness…

Lynne Parker has spoken of adopting a Brechtian approach by having McCracken identified by his jacket, so Mallon can hand it over to other actors and sit back and observe himself in his own flashbacks; played by Ali White with gusto in the Boucicault flashback and with comic disbelief in the O’Casey flashback. This combined with Zia Holly’s design, confronting the audience with the wings of a theatre as the playing space, amps up the theatricality of Stewart Parker’s script, which was already reminiscent of Stoppard’s Travesties in its dialogue with and pitch-perfect parodies of older works. Rory Nolan is hilarious as a dodgy Defender played in the style of O’Casey’s Paycock, and as harp enthusiast Edward Bunting played as Algernon Moncrieff’s ancestor, in Stewart Parker’s two most acute ventriloquisms. But all these capers occur underneath an ever-present literal noose.

Mallon and McCurry scenes in McCracken’s long night of the soul are the emotional glue that binds together the fantastical flashbacks, and they are affecting as she tries to convince him that his sister’s plan to escape to America under false papers is a reprieve not banishment. The flashbacks become more contemplative after the interval with Darragh Kelly’s loyalist labourer challenging McCracken over his failure to rally Protestants to the United Irishmen’s standard, and a prison flashback revealing the desperation of McCracken’s situation. Richard Clements, Eleanor Methven, and Robbie O’Connor complete the ensemble, deftly portraying a dizzying array of characters in McCracken’s remembrances. Mallon is wonderfully melancholic during Parker’s most overtly state of the nation moments, and remarkably, even with the Troubles’ paramilitary iconography at work, a 1984 play about 1798 sounds like it’s addressing 1916 at a theatrical remove.

Rough Magic’s 2012 Travesties occasionally lost the audience with its intellectual bravura, but Lynne Parker through theatrical panache has indeed ‘liberated’ this equally clever meditation on history and culture.

4/5

Northern Star continues its run at the Project Arts Centre until the 7th of May.

December 4, 2015

The Importance of Being Earnest

Director Patrick Mason reunites with Marty Rea and Rory Nolan, the double act from his 2009 production of The Rivals, for an elegant production of Wilde’s comedy of dual identities.

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Algernon Moncrieff (Rory Nolan) is a confirmed Bunburyist; evading formidable aunt Lady Bracknell (Deirdre Donnelly) by dint of imaginary invalid friend Bunbury, who is at death’s door whenever she issues invitations. Algernon is determined to unmask his friend Ernest Worthing (Marty Rea) as a secret Bunburyist after finding a card revealing him to be Ernest in town, but Jack in the country. Jack insists he is merely maintaining a high moral tone for the benefit of his ward Cecily (Lorna Quinn) by the invention of disreputable brother Ernest, whose outrages necessitate frequent trips to London. But when Jack’s new fiancé, Algernon’s cousin Gwendolen (Lisa Dwyer Hogg), announces she could only love a man named Ernest, and Lady Bracknell declares Jack’s unknown parentage an insurmountable objection, Jack’s engagement seems doomed. And that’s before Algernon helpfully complicates matters with some absurdist Bunburying…

Designer Francis O’Connor spoke in his Gate Lab talk of producing a space of ‘vivid neutrality’ hiding playfulness and tricks; from Oscar’s visage faintly imprinted on the back wall, to a toy train running on tracks laid into the floor for Act 2’s shift to the country, to the startling ejection of rows of champagne or filing cabinets from a side wall when given a push. Panels in the back wall open to reveal Algy’s vases full of perfect green carnations, bucolic countryside impressions, and Jack’s massive portrait of Queen Victoria surrounded by eminent Victorians. O’Connor’s costumes visually cue Mason’s take on the characters: Algy is the perfect aesthete, his blue suit perfectly fitted to his decor, Gwendolen is a chip off the old block, her lavender outfit a variation on her mother’s dress, and Jack is trying too hard to pass as an Establishment worthy, his dark clothes always too sombre. Even Jack’s servant is off. Lane (Bosco Hogan) is in insouciant synch with Algy, but uncertain Merriman (a Fassbendering Des Keogh) is nearly clobbered by filing cabinets, makes heavy weather of clearing away Cecily’s books to lay the table, and runs away whimpering after serving Gwendolen detestable tea-cake.

It’s instructive to note the Rea/Nolan double act’s contrast to Shackleton/Murphy in Smock Alley’s recent Earnest. The business of the last muffin here sees Algy magnificently insouciant and inert, not mischievous and active, with Jack’s despairing throwing of a handkerchief over the muffin tray, rather than engaging in a tug-of-war for it, summarising Rea’s interpretation. This is a man at pains to be respectable but continually thwarted by others. Pushed on to the ground by Miss Prism (a droll Marion O’Dwyer), he attempts to muster an entirely imaginary dignity before asking Lady Bracknell if she’d mind awfully telling him who he is. Rea’s expression when Jack finds his real name in the Army Lists is a comic joy. Donnelly is a wonderful Lady Bracknell, eschewing outright scenery chewing for a forthright indomitability that makes quotable lines fresh putdowns, while Dwyer Hogg, the polar opposite of her Heartbreak House ingénue, vamps it up as Gwendolen, with a Brackenellian imperiousness towards Cecily. Mark Lambert, so rambunctious in that Heartbreak House, seems underused as Canon Chasuble; amusingly rendered a relation of Peter Cook’s Very Impressive Clergyman; but complaining that supporting players have too much star power clearly points to an embarrassment of riches.

Mason had wondered what he could bring to another production of Earnest; the answer was reforming an unbeatable trio of himself, Rea, and Nolan.

5/5

The Importance of Being Earnest continues its run at the Gate until the 30th of January.

September 1, 2015

Six Years, what a surprise

Filed under: Talking Movies,Talking Nonsense,Talking Television,Talking Theatre — Fergal Casey @ 10:06 pm
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Previous milestones on this blog have been marked by features on Michael Fassbender and a vainglorious, if requested, list (plays to see before you die). But as today marks exactly six years since Talking Movies kicked off in earnest on Tuesday September 1st 2009 with a review of (500) Days of Summer I’ve rummaged thru the archives for some lists covering the various aspects of the blog’s expanded cultural brief.

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Top 6 Films

There’s been a lot of films given a write-up and a star rating hereabouts. So many films. Some fell in my estimation on re-watching, others steadily increased in my esteem, and many stayed exactly as they were.

 

Here are my favourites of the films I’ve reviewed over the past six years:

 

Inception

X-Men: First Class

Shame

The Perks of Being a Wallflower

Skyfall

Mud

 

And that’s a selection from this list…

Iron Man, Indiana Jones 4, Wolverine, (500) Days of Summer, Creation, Pandorum, Love Happens, The Goods, Fantastic Mr Fox, Jennifer’s Body, The Men Who Stare at Goats, Bright Star, Glorious 39, The Box, Youth in Revolt, A Single Man, Whip It!, The Bad Lieutenant, Eclipse, Inception, The Runaways, The Hole 3-D, Buried, Wall Street: Money Never Sleeps, Let Me In, The Way Back, Never Let Me Go, Cave of Forgotten Dreams 3-D, Win Win, X-Men: First Class, The Beaver, A Better Life, Project Nim, Rise of the Planet of the Apes, Glee: The 3-D Concert Movie, The Art of Getting By, Troll Hunter, Drive, Demons Never Die, The Ides of March, In Time, Justice, Breaking Dawn: Part I, The Big Year, Shame, The Darkest Hour 3-D, The Descendants, Man on a Ledge, Martha Marcy May Marlene, A Dangerous Method, The Woman in Black, Ghost Rider: Spirit of Vengeance 3-D, Margaret, This Means War, Stella Days, Act of Valour, The Hunger Games, Titanic 3-D, The Cabin in the Woods, Salmon Fishing in the Yemen, Lockout, Albert Nobbs, Damsels in Distress, Prometheus, Red Tails, Red Lights, Abraham Lincoln: Vampire Hunter 3-D, Ice Age 4, Killer Joe, Magic Mike, The Dark Knight Rises, The Expendables 2, My Brothers, The Watch, Lawless, The Sweeney, The Perks of Being a Wallflower, Liberal Arts, Sinister, Hit and Run, Ruby Sparks, On the Road, Stitches, Skyfall, The Sapphires, Gambit, Seven Psychopaths, Lincoln, Men at Lunch – Lon sa Speir, Warm Bodies, A Good Day to Die Hard, Safe Haven, Arbitrage, Stoker, Robot and Frank, Parker, Side Effects, Iron Man 3, 21 and Over, Dead Man Down, Mud, The Moth Diaries, Populaire, Behind the Candelabra, Man of Steel 3-D, The East, The Internship, The Frozen Ground, The Wolverine, The Heat, RED 2, The Mortal Instruments: City of Bones, Diana, Blue Jasmine, How I Live Now, Thanks for Sharing, Escape Plan, Like Father, Like Son, Ender’s Game, Philomena, The Counsellor, Catching Fire, Black Nativity, Delivery Man, 12 Years a Slave, Devil’s Due, Inside Llewyn Davis, Mr Peabody & Sherman 3-D, Dallas Buyers Club, The Monuments Men, Bastards, The Stag, The Grand Budapest Hotel, Calvary, Magic Magic, Tracks, Hill Street, X-Men: Days of Future Past 3-D, Benny & Jolene, The Fault in Our Stars, 3 Days to Kill, Boyhood, Dawn of the Planet of the Apes 3-D, SuperMensch: The Legend of Shep Gordon, God’s Pocket, Hector and the Search for Happiness, The Expendables 3, What If, Sin City 2, Let’s Be Cops, The Guest, A Most Wanted Man, Wish I Was Here, Noble, Maps to the Stars, Life After Beth, Gone Girl, Northern Soul, The Babadook, Interstellar, The Drop, Mockingjay – Part I, Electricity, Birdman, Taken 3, Wild, Testament of Youth, A Most Violent Year, Kingsman: The Secret Service, Son of a Gun, Patrick’s Day, Selma, It Follows, Paper Souls, Home 3-D, While We’re Young, John Wick, A Little Chaos, The Good Lie, Let Us Prey, The Legend of Barney Thomson, Hitman: Agent 47.

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Top 6 Film Features

There’s been a lot of film features, from me obsessing over ignored inflation at the box-office and omnipresent CGI on the screen to the twaddle of Oscar ceremonies and thoroughly bogus critical narratives of New Hollywood.

 

Here are my favourite film features from the last six years:

 

A Proof – Keanu Can Act

Snyder’s Sensibility

What the Hell is … Method Acting?

Terrence Malick’s Upas Tree

5 Reasons to love Tom at the Farm

A Million Ways to Screw up a Western

 

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Top 6 TV Features

There’s been quite a bit of musing about TV here, usually in short-form howls about The Blacklist or other such popcorn irritants, but sometimes in longer format, like two disquisitions on Laurence Fishburne’s stint in CSI.

 

Here are my favourite TV features from the last six years:

 

TARDIS: Time And Relative Dimensions In Smartness

Double Exposure: Cutter’s Way/House M.D.

Medium’s Realism    

2ThirteenB Baker Street, Princeton

Funny Bones

An Arrow of a different colour

 

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Top 6 Plays

Since I decided to start reviewing plays in summer 2010 there’s been a steady stream of reviews from the Dublin Theatre Festival and regular productions at the Gate, the Abbey, the Olympia, the Gaiety, and Smock Alley.

 

Here are my favourites of the plays I’ve reviewed over the last six years:

 

John Gabriel Borkman

The Silver Tassie

Pygmalion

Juno and the Paycock

The Select: The Sun Also Rises

A Whistle in the Dark

 

And that’s a selection from this list:

Death of a Salesman, Arcadia, Phaedra, John Gabriel Borkman, Enron, The Silver Tassie, The Field, The Cripple of Inishmaan, Attempts on Her Life, Pygmalion, Translations, Hay Fever, Juno and the Paycock, Peer Gynt, Slattery’s Sago Saga, Tom Crean: Antarctic Explorer, Big Maggie, Hamlet, Improbable Frequency, Alice in Funderland, Glengarry Glen Ross, Travesties, The House, The Plough and the Stars, The Lark, Dubliners, The Select: The Sun Also Rises, A Whistle in the Dark, Conversations on a Homecoming, The Talk of the Town, King Lear, Major Barbara, Accidental Death of an Anarchist, The Critic, Desire Under the Elms, Neutral Hero, Macbeth, A Skull in Connemara, The Vortex, An Ideal Husband, Twelfth Night, Aristocrats, Ballyturk, Heartbreak House, The Actor’s Lament, Our Few and Evil Days, Bailegangaire, Spinning, She Stoops to Conquer, The Walworth Farce, The Caretaker, The Man in Two Pieces, Hedda Gabler, The Gigli Concert, A Month in the Country, The Shadow of a Gunman, The Importance of Being Earnest, Bob & Judy, By the Bog of Cats.

 

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Top 6 Colour Pieces

It must be admitted that I’ve written fewer colour pieces for the blog than I would have liked, but I’ve greatly enjoyed the occasional adventures of Hollywood insider Micawber-Mycroft; a homage to PG Wodehouse’s Mr Mulliner.

 

Here are my favourite colour pieces from the last six years:

 

How to Watch 300

Mark Pellegrino gets ambitious

Great Production Disasters of Our Time: Apocalypse Now

Micawber-Mycroft explains nervous action directing

Alfred & Bane: Brothers in Arms

Kristen Bell, Book and Candle

 

Six years, my brain hurts a lot…

August 21, 2015

The Importance of Being Earnest

Smock Alley presents a spirited production of Oscar Wilde’s classic comedy in which the setting of Victorian drawing room and garden receives an unusual interpretation.

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Algernon Moncrieff (Kevin Shackleton) is a confirmed Bunburyist; evading his formidable aunt Lady Bracknell (Valerie O’Leary) by dint of imaginary friend Bunbury, an invalid who lives in the country and is at death’s door whenever she issues invitations. Algernon is determined to unveil his friend Ernest Worthing (James Murphy) as a secret Bunburyist after finding a card revealing him to be Ernest in town and Jack in the country. Ernest, whose name is actually Jack, insists he is merely maintaining a high moral tone for the benefit of his ward Cecily (Aislinn O’Byrne) by the invention of disreputable brother Ernest, whose outrages necessitate frequent trips to London. But when Jack’s new fiancé, Algernon’s cousin Gwendolen (Clodagh Mooney Duggan), announces she could only love a man named Ernest, and her acidic mother declares that Jack’s unknown ancestry is an insurmountable obstacle to marriage, Jack’s engagement seems doomed. And that’s before Algernon decides to helpfully complicate matters with his most ridiculous Bunburying…

Marcus Costello’s startlingly green set serves as garden and drawing room with shrubbery in the shape of a piano revealing itself as a functional piano. There is also the added surreal touch of dresses hanging with lights inside them as eccentric garden decoration. Olga Criado Monleon’s costumes foppishly cast Jack in beige and Algy in blue, but excessively render unfashionable Cecily in a dress that’s almost a repurposed table-cloth. Initially you fear that director Kate Canning is attempting a Jordan-style queering of the text, but that approach quickly dissipates; though Charlie Hughes playing Lane, Merriman, and Canon Chasuble, leads to a major quibble. Lane is rendered with a jiving walk that’s as disconcerting for the character as Jeeves being played as Riff Raff, and Merriman becomes Worzel Gummidge, for the purpose of physically differentiating from Hughes’ main role as the entertainingly nervous Canon. O’Byrne also overplays vocally the girlishness and exaggerated innocence of young Cecily to contrast Duggan’s sultry Gwendolen.

And yet such complaints stand as naught against the whole production, as any gripes are swept away by the accelerating comedic momentum of Wilde’s script, and a deluge of delirious nonsense from the double act of Jack and Algy. Canning contrives some wonderful business. Jack and Algy engage in a tug of war for the silver tray bearing the coveted last muffin as Jack grunts his pained dialogue, while Katie McCann follows up one of her deliciously fake social laughs as Miss Prism with a death-stare at Jack and Algy for their effrontery. Shackleton and Murphy faced the challenge of playing roles that Rory Nolan and Marty Rea take on in a few months in the Gate’s production, and they can proudly boast that they equalled that proven double act in moments such as Jack first meeting Algy at his country estate. Duggan meanwhile adds knowing sauciness to Gwendolen’s dialogue that unnerves Jack terrifically, and seems to rediscover Wilde’s subversiveness.

Plays that are as quotable and almost over-familiar as Wilde’s offer their own hazards, and it is to this company’s credit that they sparkle.

4/5

The Importance of Being Earnest continues its run in Smock Alley until August 22nd.

January 8, 2015

She Stoops to Conquer

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Oliver Goldsmith’s classic 1773 comedy gets an extremely exuberant production as the Abbey Theatre’s Christmas production directed by Conall Morrison.

Miss Hardcastle (Caroline Morahan) is threatened with a lover. Her father, the amiable Mr Hardcastle (Jon Kenny), is looking to marry her off to Marlow (Marty Rea); the son of his dear friend Sir Charles (Mark Lambert). She, however, is put off by Marlow’s reputation for extreme diffidence with women. The diffidence, however, only applies to women of his own class; Marlow is a rake with bar-wenches. And when her half-brother Tony Lumpkin (David Pearse) decides to play a trick on the conceited Marlow and his travelling companion Hastings (Rory Nolan) by directing them to chez Hardcastle as the local inn, Miss Hardcastle gets to see both sides of her putative suitor as Marlow and Hastings live it up to the dismay of Mr Hardcastle. Hastings, meanwhile, is wooing Miss Neville (Janet Moran), who is trying to get her inheritance of jewels out of the clutches of Mrs Hardcastle (Marion O’Dwyer) without having to marry her cousin Tony for them.

The play is puzzlingly relocated to Ireland by changing some references, but, unlike Rough Magic’s take on The Critic, this seems a half-abandoned high concept. There’s a sort of dangerous ahistoricity in thinking that the Big House represents the same thing in England and Ireland in 1773. And when Marlow, Hastings, and Miss Hardcastle all speak in RP tones it’s easiest to just deem it an eccentric method of representing the English urban/rural divide. Goldsmith’s comedy is played extremely broadly, with an emphasis on slapstick, and a fourth wall that never stood a chance against direct appeals to the audience by Morahan and Kenny (clearly relishing this D’Unbelievables touch). The double-act of Nolan and Rea that made 2009’s The Rivals such a hoot is firing on all cylinders, with Hastings forcing Marlow to conduct an interview with Miss Hardcastle a joy to behold; ending with a despairing Marlow dispensing with cups to slurp, arms out-stretched, directly from the punch bowl.

Morahan fares well in such an approach, presiding over the terrified servants who Kenny has attempted to instruct in the art of appearing genteel; so that Diggory (Sean Murphy) holds his hands stiff at all times, while Bryan Quinn literally throws himself around the stage in the service of his master. Lisa Fox and Charlotte McCurry also stand out musically and comedically in the ensemble who double as the denizens of Lumpkin’s local The Three Pigeons and the servants of his house. O’Dwyer’s imperious matriarch is as pompously dragonish as her Mrs Malaprop in 2009, with Pearse an effective foil. Liam Doona’s set design deserves a special mention for its ingenious rendering of inn and house as identical save for a sign lowered from the ceiling instead of a chandelier, with glass windows letting us glimpse characters pursue each other behind the set, while that garden comes to vivid life via a trapdoor pond and some trees lowered from above.

The period music by Conor Linehan which culminates in a joyous song and dance finale renders Goldsmith unexpectedly Shakespearean and fitting for the season.

3.5/5

She Stoops to Conquer continues its run at the Abbey until the 31st of January.

June 25, 2014

Aristocrats

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Director Patrick Mason returns to the Abbey for a new production of 1979’s Aristocrats, Brian Friel’s Chekhovian study of a Catholic Big House in decline.

The peculiarity of Ballybeg in having a Catholic Big House has attracted Chicagoan academic Tom Hoffnung (Philip Judge). As he researches the history of the well-to-do O’Donnell family since 1829, he is privy to gossip from helpful local fixer Willie Diver (Rory Nolan). Willie is devoted to the eldest daughter Judith (Cathy Belton), whose life is now spent caring for her invalided father (John Kavanagh) and the eccentric Uncle George (Bosco Hogan). Tom’s visit is peculiarly opportune for getting family gossip as youngest daughter Claire (Jane McGrath) is getting married, and so middle daughter Alice (Rebecca O’Mara) and oddball son Casimir (Tadhg Murphy) have returned to the fold. However, while Casimir has left wife Helga in Hamburg, Alice has brought acerbic husband Eamon (Keith McErlean). And Eamon is a truth-teller when it comes to his peasantry and the O’Donnell gentry…

Uncle George who shuffles about silently avoiding people is a character straight out of Chekhov. But Aristocrats, while it has some very funny moments (not least imaginary croquet), is primarily a very sad play. Judith’s speech about how she manages to be ‘almost happy’ within a strict routine of servitude, which she does not want disturbed, is made all the more heart-breaking by the ingratitude of her stroke-stricken father; who continually refers to Judith’s great betrayal, unaware that it is she who tends to him. Casimir’s relating how his father told him his eccentricities could be absorbed in the Big House whereas he would be the village idiot in Ballybeg is equally distressing as it has led him to narrowing his life to avoid pillory. And, in Sinead McKenna’s evocative lighting design, behind everything – Judith’s past role in the Troubles.

Francis O’Connor’s set, a detailed drawing room with abstracted staircases and doors behind it and an imaginary wall to a lawn, strikes a balance between verisimilitude and artifice that my sometime co-writer John Healy pointed out to me was reflected in the acting styles; naturalistic for the ‘native peasantry’ Willie and Eamon, more mannered for the self-conscious gentry in decline – especially Alice’s performative alcoholism and Casimir’s apologetic tics. The set also reflects Friel’s concern with the ghostly technology; absent daughter Anna (Ruth McGill) can record a message, Father’s rantings can be relayed downstairs. Catherine Fay’s 1970s costumes (especially for Alice and Willie) are impeccable, while Mason lives up to Eamon’s programmatic ‘This has always been a house of reticence, of things left unspoken’ by offering muted hints that Eamon fathered Judith’s child, and that Eamon and Alice will be happy.

My fellow academic Graham Price would no doubt note the contrast between McGahern’s vision of the Big House; a place of learning; and Friel’s vision; a place where objects are named after Chesterton, Hopkins and Yeats, but it is severely doubtful that the self-absorbed status-conscious O’Donnells who did so ever emulated their intellectual curiosity.

3.5/5

Aristocrats continues its run at the Abbey until the 2nd of August.

October 7, 2013

The Critic

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Rough Magic strikes gold again with a hilarious production of Richard Brinsley Sheridan’s 1779 comedy in which they transpose the absurdist action to Georgian Dublin.

Mrs Dangle (Eleanor Methven) is out of humour with Mr Dangle (Darragh Kelly). She sits reading about Lord North’s monumental failures while he amuses himself reading up on theatre gossip. Her mood is not improved when Mr Sneer (Ronan Leahy) arrives, and the two erstwhile theatre critics ignore the parlous state of the country. But then her beloved struggling writer Sir Fretful Plagiary (Rory Nolan) arrives, and she supports him thru the ‘helpful’ critiques of his latest rejected manuscript by Sneer and Dangle. Luckily for her she misses the arrival of the disreputable Mr Puff (Karl Shiels), who explains his various types of puff-pieces to an impressed Sneer before allowing the duo attend a rehearsal of his new tragedy. At which point a host of actors take to a different stage to perform, with constant interruption from the three gentlemen…

The unusual experience of sitting around in the Culture Box as if eavesdropping in the Dangles’ drawing room before trotting up to The Ark to follow them to a rehearsal of Puff’s tragedy of the Spanish Armada is inspired. In the intimate setting of the Culture Box Nolan’s prancing ninny Sir Fretful Plagiary richly deserved the solo round of applause he got for his harrumphing exit, while Karl Shiels makes a wonderful entrance as the lecherous and slightly tipsy Mr Puff who explains matters like ‘the puff collusive’ with bravura. Sneer and Dangle passing snide remarks from the Ark’s balcony makes you think that Sheridan may have created Statler and Waldorf two centuries before The Muppets: this is their take on Puff’s utterly random comic sub-plot – “Why, this under-plot would have made a tragedy itself” “Ay, or a comedy either”

Peter Daly narrates helpfully at the Culture Box, interrupting dialogue with helpful information for the audience, before stealing the silliest moment of the entire play in The Ark with the infamous silent meditation and preposterously meaningful shake of the head by Puff’s tragic antagonist. Sheridan’s abrupt ending is creatively expanded here with Puff being chased off-stage for criticising his actors and a baffled Dangle and Sneer taking to the vacated floor, reading the opening of Peter Brook’s The Empty Space, dismissing it and then being taken by surprise (much like the audience) by the back wall of the theatre slowly rising to a light show, as the talented young ‘tragedy’ actors from UCD Dramsoc, Trinity Players and the Gaiety School of Acting stand in front of a montage of theatre troupe names and people flock into the square behind to observe – thus proving Brook’s point.

The Critic has never been out of repertory of since it premiered in 1779, largely because its well-turned jokes are as fresh as ever.

4/5

The Critic continues its run at the Culture Box until October 13th.

July 27, 2013

Dublin Theatre Festival: 10 Plays

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Maeve’s House 24th September – October 12th Peacock

Another theatre festival, another show about Ranelagh native and New Yorker writer Maeve Brennan. Gerry Stembridge directs Eamon Morrisey’s one-man show about growing up in the house that Brennan set many of her biting short stories in. Morrissey promises to properly incorporate some of her stories into the performance, something which was quite badly needed in last year’s The Talk of the Town.

Winners and Losers 26th – 29th September Project

This sounds like a contemporary spin on Louis Malle’s 1981 film My Dinner with Andre. Canadian actors and writers James Long and Marcus Youssef sit at a table and play a friendly game; dubbing people, places and things winners or losers. Friendly, until making monetary success the sole nexus of human relations gets too close to home, and things get personal and ugly…

The Threepenny Opera 26th September – October 12th Gate

Mack the Knife graces the Gate stage, but in this instance Bertolt Brecht and Kurt Weill’s classic scabrous Weimar Republic musical has been given a makeover by Mark O’Rowe and Wayne Jordan. The combination of the writer of Perrier’s Bounty and director of Alice in Funderland doesn’t entice, but Aoibhinn McGinnity belting out Weill’s fusion of jazz and cabaret is practically irresistible.

riverrun 2nd – 6th October Project

Actress Olwen Foure’s premiere of Sodom, My Love at the Project underwhelmed so expectations should be lowered for her new one-woman show. Now that Joyce is finally out of the dead hand of copyright she adapts Finnegans Wake with an emphasis on the voice of the river, Anna Livia Plurabelle. Expect some physical theatre to complement and parallel the ‘sound-dance’ of Joyce’s complicated linguistic punning.

Three Fingers below the Knee 2nd – 5th October Project

As Portugal lurches about in renewed economic crisis this is a salient reminder of how dark many of our fellow PIIGS’s recent past is. Writer Tiago Rodrigues directs Isabel Abreu and Goncalo Waddington in an exploration of power and expression based on the records of the censorship commission of Salazar’s dictatorship; thoughtfully probing their editing decisions for plays old and new.

Waiting for Godot 2nd – 6th October Gaiety

Probably, along with The Threepenny Opera, the flagship show of the festival as Conor Lovett and his Gare St Lazare players take on Beckett’s most celebrated play. It’s always worth seeing Vladimir and Estragon bicker as they wait for the unreliable Godot, and be driven mad by Lucky and Pozzo’s eruption onto their desolate stage, but you feel Barry McGovern has copyright here…

Desire under the Elms 2nd – 13th October Smock Alley

Corn Exchange bring their signature commedia dell’arte style to Eugene O’Neill’s early masterpiece about a love triangle akin to Greek tragedy playing out in an 1850s New England farm. Druid came a cropper with Long Day’s Journey into Night at the 2007 festival and Corn Exchange’s 2012 show Dubliners was incredibly uneven. This could be great, but let’s employ cautious optimism.

The Critic 2nd – 13th October Culture Box/Ark

Well, this looks eccentric. Rough Magic throws Talking Movies favourites Rory Nolan and Darragh Kelly at a Richard Brinsley Sheridan script. Nolan was superb in 2009’s Abbey production of The Rivals, but director Lynne Parker is going for a far more postmodern effect here as the characters leave the theatre to watch Dublin’s premier college troupes perform the preposterous play within a play!

Neutral Hero 9th – 12th October Project

Writer/director Richard Maxwell made the New York Times’ Top 10 Plays of 2012 with this picaresque tale of a young man searching for his father in the contemporary Midwest. New York City Players are known for their experimental style fusing text, movement and music; and the 12 cast members play characters that are all revealed to hide mythic importance behind their initially humdrum facades.

The Hanging Gardens 3rd – 12th October Abbey

Frank McGuinness’ adaptation of John Gabriel Borkman stole the 2010 Festival, but does he really have a great new original play in him? Talking Movies favourite Marty Rea reunites with his DruidMurphy sparring partner Niall Buggy. Three children competing for their parents’ approval sounds like a parody, but so did Tom Murphy’s The House which then revealed itself to be far more layered.

December 4, 2012

Conversations on a Homecoming

conversations-on-a-homecoming-druid-murphy

Druid’s lightest outing of the Dublin Theatre Festival at the Gaiety saw their sterling ensemble assemble in a 1970s pub for Tom Murphy’s serious comedy about unsuccessful emigration, a tightly-knit group’s failed dreams, and the illusory promise of their mentor.

Michael (Marty Rea) has arrived home after 10 years in New York pursuing an acting career. He finds all his old cronies more or less stuck where they were. Tom (Garret Lombard) is still teaching at the local school, and still engaged to Peggy (Eileen Walsh), and showing about as much likelihood of moving on to the next step as Rory Nolan’s Junior is of finally getting his parents’ farm.

The one person who seems to be going places is Liam (Aaron Monaghan), who seems to have absurdly as many jobs in the town as Kurt in Gilmore Girls. Michael is insistent that they can do all better if they remember the example of JJ, their mentor, who established this pub The White House with their help a decade before as a forum for ideas. Tom violently disagrees, disowning radicalism.

It’s remarkable to see Nolan and Lombard who were terrifying as ignorant thugs in Whistle transform into an amiable old duffer and an intellectual scrapper respectively in this play. Rea is as reliable as ever, his half-romance with Beth Cooke’s barmaid Ann being nicely underplayed, and his sparring with Lombard on the merit of over-reaching ambition carries some nice emotional charge to go with the wonderful barbed insults flung about.

Murphy’s play, performed without an interval, would please Aristotle in observing the classical unities but its night at the pub offers both insight and comedy under Garry Hynes’ direction.

4/5

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