Dublin Theatre Festival: 5 Plays

This is the 60^th 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 50^th anniversary iteration when Druid presented James Cromwell in Long Day’s Journey into Night.

Tribes 28^th September – October 14^th 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 28^th September – October 8^th 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 2^nd – October 8^th 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 10^th – October 11^th 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 11^th – October 15^th 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.

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.

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.

Enjoy

The work of Rough Magic SEEDS participants Zoe Ni Riordain and Cait Corkery is showcased at the Project Arts Centre in this off-beat Japanese story.

I’ll freely admit defeat in being able to remember the character names, but I’m in good company; the New York Times gave up on them too. There are three older workers in a comic-book cafe in downtown Tokyo (Gerard O’Keefe, Dylan Coburn Gray, John Doran). Two of them are in crisis because a new part-time worker (Ashley Xie) is dating the other member of their Gen X trio. And this girl is only 22. Which blows their minds. The younger workers at the store (Emmet Byrne, Daryl McCormack) don’t care that much, they’re more concerned about one of the Gen Xers melting down at them for their treatment of a homeless guy trying to shuffle into the store. And that’s a whole other story, involving that Gen Xer and his thirtysomething girlfriend (Erica Murray) breaking up with no small bitterness.

It’s kind of hard to keep track of the characters anyway, as playwright Toshiki Okada (translated by Aya Ogawa) mischievously has them narrate what other people say and conduct dialogue on someone else’s behalf to the point where you can momentarily forget whether or not someone is speaking as themselves. And that’s before you add in the disconcerting pre-recorded voiceover of the character’s thoughts which the actors loop into onstage. It’s quasi-reminiscent of Neutral Hero at the 2013 Theatre Festival, down to the long monotone pastiche Bret Easton Ellis narrations; but this is far livelier. John Doran’s long drones are played for huge laughs, his ability to keep going on nigh-endless tangent-heavy qualification-ridden over-elaborate interrogations of the simplest of actions like a Pinter character mashed up with Michael Cera’s Scott Pilgrim spectacular. Oh, plus the third act is largely karaoke.

Dylan Coburn Gray seemed on the brink of corpsing, hardly surprising given that he had to perform lyrics about mundane blanking by old friends to ‘With or Without You’ and societal pressure to ‘Don’t You Want Me Baby,’ but his was the stand-out performance as the most complicated Gen Xer. Alongside Murray and Breffni Holohan he imparted a growing emotional charge to the karaoke as ‘Someone Like You’ sound-tracked a brutal break-up injunction to just die already, before he revealed his character’s fear of the future. Corkery’s set sadly eschews any comic-book touches, but her costume designs delineate the characters’ attitudes: sharpness for the thirtysomething women, sober matching colours for the twentysomething men, and hipster colour clashes for the Gen Xers. Numerous flubbed lines suggest Ni Riordain could’ve used more rehearsals, but it also made the Cube feel like Dramsoc.

UCD Dramsoc at its best, in the old LG space, a clique of people passionate about theatre crowded into an over-heated cauldron to see a production give it everything.

3.5/5

Enjoy continues its run at Project Arts Centre until the 5^th of December

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.

The Night Alive 22^nd September – October 4^th 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! 23^rd September – 4^th 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 23^rd September – 3^rd 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 24^th September – 31^st 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 24^th September – 10^th 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 24^th September – 26^th 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.

Hooked! 25^th September – 10^th 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 27^th September – 3^rd 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 6^th October – 11^th 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 6^th October – 11^th 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 6^th October – 10^th 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 7^th October – October 10^th 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.

She Stoops to Conquer

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 31^st of January.

The Critic

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.

Dublin Theatre Festival: 10 Plays

Maeve’s House 24^th September – October 12^th 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 26^th – 29^th 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 26^th September – October 12^th 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 2^nd – 6^th 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 2^nd – 5^th 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 2^nd – 6^th 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 2^nd – 13^th 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 2^nd – 13^th 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 9^th – 12^th 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 3^rd – 12^th 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.

Travesties

Rough Magic bring Tom Stoppard’s 1975 play Travesties to the Pavilion Theatre to mark Bloomsday but Joyce is a minor character in a play too clever for its own good…

1975 finds aged British civil servant Henry Carr (Will Irvine) unreliably reminiscing about his time in the British consulate in Zurich in WWI. Carr really did act in a production of The Importance of Being Earnest staged by James Joyce (Ronan Leahy), and they really did get into an absurd lawsuit over a pair of trousers used in the show, but everything else Carr remembers … unreliably. Yes, Lenin (Peter Daly) and Tristan Tzara (Ciaran O’Brien) were in Zurich at the same time promoting Communism and Dadaism respectively. No, they weren’t intimate acquaintances of Carr, and they certainly weren’t all playing parts in a real life Earnest type romantic comedy of mistaken and assumed identities as everyone attempted to woo Joyce’s helper Gwendolyn (Camille Ross) and Lenin’s acolyte Cecily (Jody O’Neill). Carr remembers all this in a series of deliriously repeated scenes as his shellshock and a cuckoo clock restart the action to be ‘accurate’. It’s unnerving to sit thru a comedy where people aren’t laughing, but a delightful wordplay on Bosh and Bosch was just one of many of Stoppard’s hyper-literate gags, most involving Ulysses and Earnest, which proved too smart for the room.

The over-emphasis on Joyce in this show’s promotion probably accounts for the air of bemusement that greeted Carr’s dominating presence throughout as Joyce made only comedic cameos. Leahy milked comedy from his role but his accent roved mightily, and unsatisfactorily when it rendered the Clongowes and UCD old boy as a Roddy Doyle character. Irvine was on fine dramatic as well as comedic form, making Carr’s sudden surges of panic about being back on the Western front as important as his foppish obsession with his many stylish trousers that were ruined in the trenches. Jody O’Neill was equally impressive with magnificently clipped delivery as Cecily and superb timing in a scene where Bennett the butler (Philip Judge) beats time in the act of serving tea to Cecily and Gwendolyn as they fight in song lyrics. That scene occurs in the second act which houses all the play’s funniest scenes including Joyce quizzing Tzara over Dadaism in the style of the ‘Ithaca’ chapter of Ulysses and giving an impassioned speech on creating Ulysses.

Poor old Tzara also gets it in the neck from Carr with a devastating speech that makes a hilarious analogy with redefining the meaning of ‘flying’ to condemn modern art as shifting the goalposts of art to allow talentless people pass themselves off as artists. Art’s purpose is the main theme of a play constructed from other works and daffy showboating like dialogue in limericks. Tzara wants to make art random and democratic, Joyce regards the artist as having a sacred duty to speak truth, and Lenin the revolutionary privately likes his art conservative in form but publicly insists it be engaged in social critique. The momentum killing excessive quotation from Lenin in order to skewer his intellectual dishonesty by his own words seems a very 1970s brush-off to Soviet fellow travellers who attacked Stoppard for lack of political commitment, but Daly generates enormous melancholy from Lenin discovering that his beloved Pushkin, as a ‘bourgeois individualist’, has been supplanted by a futurist poet in curricula. Director Lynne Parker designed the set’s pitched platform which in representing Carr’s home and the Zurich library creates an appropriately surreal atmosphere in which she draws the best from her actors.

Stoppard’s plays always dazzle with their bravura mix of wit and learning but this is a solid production of a script that, unlike Arcadia, engages only the head, not the heart.

3/5

Travesties continues its run in the Pavilion Theatre until June 23rd.

Improbable Frequency

Rough Magic triumphantly reprise their 2004 musical comedy at the Gaiety, atoning for writer Arthur Riordan and director Lynne Parker’s recent misfiring Peer Gynt.

Tweedy crossword enthusiast Tristram Faraday (Peter Hanly) gets recruited by MI5 as a code-breaker and is dispatched to 1941 Ireland to discover how deranged DJ Micheal O’Dromedary (Rory Nolan) keeps forecasting the weather via song titles. Tristram arrives at a Dublin MI5 station headed by an equally unlikely spy, the portly poet John Betjeman (Nolan again). Tristram’s investigations bring him into contact with drunken satirist Myles na gCopaleen (Darragh Kelly), Myles’ ingénue civil service colleague Philomena (Stephanie McKeon), rival British spy and Tristram’s ex Agent Green (Cathy White), crazed IRA chief Muldoon (Kelly again), and a genius physicist  equally concerned with things of the mind and Philomena’s behind – Erwin Schrodinger (Brian Doherty). As improbable actions turn out to be set-ups for excruciating punch-lines Tristram quickly suspects that Myles and Schrodinger are working together, possibly with someone called ‘Pat’ to develop an atom bomb for Muldoon. The truth is more improbable…

Arthur Riordan’s script is closer to his Slattery’s Sago Saga adaptation than his Peer Gynt, despite the rhyming lyrics and frequently rhyming dialogue, and is consistently hilarious as well as anticipating his later handling of Flann O’Brien in Slattery in the puns Myles makes. A musical lives or dies by the qualities of its numbers and Bell Helicopter (Conor Kelly & Sam Park) provide a lively score with numerous highlights. ‘Be Careful not to Patronise the Irish’ is a wonderful show-opener as the MI5 staff welcome Tristram, while ‘John Betjeman’ is a hoot as the round-bellied but high-steeping poet makes his entrance. Irish nationalist DJ O’Dromedary’s ‘I’m just anti-British, that’s my way’ is equally memorable; not least because O’Dromedary’s hump, wig and Groucho eyeglasses position him halfway between Pat Shortt and Richard O’Brien. There are further Rocky Horror echoes in a spectacular set-change and plot twist in the second act which incorporates flashing house lights into the design. A bolero interrogation and a jig-scored parodic sex scene are trumped by Philomena’s indignant ‘Don’t you wave your particles at me, Mr Schrodinger!’ as the show’s funniest matching of words and music.

It’s shameful to only now be seeing Talking Movies favourite Nolan in his signature role of Betjeman, but he’s an absolute delight as the obese dandy eager to keep Ireland out of the war so that he can remain in his cushy posting. A whimsical highlight is his dancing on the set’s all purpose bar counter singing ‘Me Jaunty Jarvey’ while Tristram tries to solve a code. Tristram bitterly complains to the audience that Betjeman wouldn’t stop singing this damn tune for he doesn’t know how long, and Nolan bursts into ‘a long long long long long long long long long long long la long’ as he dances on. Darragh Kelly Fassbenders as a bloodthirsty Muldoon and an irascible Myles horrified by his own dreadful puns (he notes after throwing German food at her that ‘Philomena was ready for the wurst’), while Doherty’s Colonel is a sardonic delight and his Schrodinger a compendium of oddly accented words. Hanly is only a slightly better singer than Rex Harrison but is a winning comic lead throughout. Cathy White sung stunningly as Aphrodite in Phaedra, but, though she vamps it up in a Cabaret outfit as the femme fatale on ‘Betrayal’, McKeon outshines her vocally in her very promising debut for Rough Magic.

Rough Magic have infuriated for two Theatre Festivals in a row with dramas incorporating music, but any new musical comedy from them would be essential.

3/5

Peer Gynt

Director Lynne Parker follows last year’s misfiring Phaedra with another deeply frustrating combination of theatre and live music…

Arthur Riordan’s rhymed version of Henrik Ibsen’s 1867 farewell to verse drama is underscored by a constant live soundtrack from traditional/jazz quintet Tarab which renders his script as bad rap at its worst and good beat poetry at its best. Talking Movies’ favourite Rory Nolan is our hero Peer Gynt, incarcerated in a lunatic asylum for his Baron Munchausen tendencies, but who continues to spins yarns of his adventures (which are oddly identical to heroic Norwegian folklore) to the disdain of inmates and staff alike. Riordan’s script never addresses this set-up directly though, it’s all only suggested by the costumes. John Comiskey follows last year’s massive stainless steel set with tunnels, narrow windows and video screens for Phaedra with an imposing, stately lunatic asylum set designed with Alan Farquharson. It is equally irrelevant as the characters largely stalk up and down the narrow playing space imagining, and inhabiting, outdoor locations.

Three hours is a hefty running time for a misfiring production, but hysterically the longer second half is far better as it largely dispenses with the conceits that sink the first half. There are only two scenes that work brilliantly in the 75 minute first half, the first and last. Peer’s opening account of chasing a deer thrillingly uses the rhythm of verse and music to conjure up a vivid hunt complete with a hilarious fabulist anti-climax, while his comforting of his dying mother Aase (Karden Ardiff) with a recreation of a childhood fantasy she told him is genuinely tear-jerking. Everything in between doesn’t work. Hilary O’Shaughnessy is too arch for her own good as runaway bride Ingrid, and the slapstick comedy Trolls are merely pointlessly silly. It all leaves you thinking Grieg’s Peer Gynt suite is a better adaptation. The best moments come later on when Tarab’s music stops.

Silence allows the 90 minute second half to begin with hilarious sequences of Nolan and Co discussing demented imperialist plans in half-British accents, before Peer becomes a false prophet, leading to a wonderful sequence in a Cairo lunatic asylum. These sequences, jam-packed with quick costume changes and absurdist props, see Will O’Connell display great comedic flair across multiple roles, before delivering a powerful eulogy at a draft-dodger’s funeral. Fergal McElherron and Peter Daly have their best moments in their smallest roles as the Devil and the Button Moulder, one rejecting Peer for not having sinned enough, the other condemning him to Purgatory for never truly having been himself. Sarah Greene is again scene-stealing, moving wonderfully between the demure Solveig, whose unshakeable love for Peer may yet save him, and an Egyptian dancing-girl alter-ego. Riordan half-attempts to Hibernicise Ibsen but never makes the obvious link to Translations, that escaping material poverty by imaginative fantasy can be equally imprisoning. His script, in its vagueness and prioritisation of rhyme, ultimately resembles Peer’s famous peeling of the onion that symbolises his fabulist personality – no core.

This is slightly better than Phaedra, but Seneca, Racine and Ibsen aren’t to blame when a classic play doesn’t work. Rough Magic’s insertion of pointless live music into half-updated scripts performed on extravagant but irrelevant sets has disappointed two years in a row. Henceforth, this Rough Magic I here abjure…

2.75/5

Peer Gynt continues its run at Belvedere College until October 16th.