Talking Movies

August 27, 2017

The Dumb Waiter

Artistic director Michael Colgan bade a sentimental (and almost self-parodic) farewell to the Gate Theatre with a festival of Beckett, Friel, and Pinter one-act plays.

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Gus (Garrett Lombard) and Ben (Lorcan Cranitch) are waiting to go to work. Mind you, the nature of that work is not exactly specified. But Gus, the young partner, is impatient, and critical of falling standards in their accommodation for such waiting gigs. Ben, the older partner, is tired of his job, and possibly of Gus. So he tries to ignore Gus’ gripes about being stuck in a basement in Birmingham with tea bags but no gas to light up to boil water. But his attempts to read the newspaper are foiled by arguments about whether Aston Villa are playing at home, whether everyone is always playing away no matter where they get sent, and who really killed a cat in the news. And that’s before the antique dumb waiter in the basement starts acting up, leading to more aggro…

I’ve haven’t seen The Dumb Waiter since the UCD Dramsoc production directed by my friend Priscilla Ni Cheallaigh in 2000, starring Patrick Fitzgerald. Pinter done at anything but the right pace can drag to deathliness, even the Gate’s 2015 The Caretaker wobbled, but director Joe Dowling gets the pace here spot on; drawing out comedy. Cranitch’s raised eyebrows and shuffling newspaper at Lombard’s antics, including business with spare matches and shoes, bring out a level of slapstick that is amped up further when he starts howling “The larder is bare!” at the dumb waiter after they’ve loaded it with odds and ends of food. Oddly enough Cranitch and Lombard’s mania at satiating the unknown operator above actually reminded me of John Olohan and Eamon Morrissey’s ludicrous struggles with a mysterious telephone call in Druid’s 2010 production of The Silver Tassie.

Dowling and set designer Francis O’Connor utilise the full space of the Gate to create as much distance as possible between Gus and Ben, and make the stage very spare; almost a visual equivalent of how silence lingers between them, pregnant with tension and absurdity dependent on how Pinter’s dots on the page work. And Lombard continues to show a real flair for delivering Pinter’s absurdist speeches. Joan O’Clery’s costumes look down-at-heel until they’ve properly dressed; but even still these two are more Harry Palmer than James Bond. For the first time, instead of thinking of these characters as hit-men out of Pulp Fiction, as was inevitable back in 2000, I wondered – what if they’re cleaners? What if they’re plugging MI5 leaks MI5 with extreme prejudice, taking out the Burgesses and Macleans of the world; morose from that squalid task.

Lombard and Cranitch make a formidable double act, bringing Pinter’s early classic to humorous and doom-laden life. Oh, to see them as Mugsy and Stephen in Dealer’s Choice here.

4/5

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September 21, 2016

Observe the Sons of Ulster Marching Towards the Somme

The Abbey characteristically gives the bloody cul-de-sac of the Somme equal precedence with the seminal Rising in this year of centenaries, but this is a stunning revival of Frank McGuinness’ work of imaginative empathy.

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Old Pyper (Sean McGinley) is haunted. In his workshops he rails against phantoms, guilt-ridden over being the sole survivor of a band of brothers wiped out at the Somme in 1916. As he remembers the slaughter the phantoms materialise, and we flashback to their meeting for the first time after enlisting. There is Young Pyper (Donal Gallery), to all concerned instantly pegged as a ‘rare boyo’, sparring with Craig (Ryan Donaldson). There is the inseparable Moore (Chris McCurry), blind as a bat, and his more confident friend Millen (Iarla McGowan). There is the disgraced minister Roulston (Marcus Lamb), an old enemy of Pyper’s, and a Derry boy Crawford (Jonny Holden). And then there’s Belfast bashers Anderson (Andy Kellegher) and McIlwaine (Paul Kennedy). As these pairs, existing and new, bond the terrible sacrifice of the Somme campaign looms before them all.

McGuinness’ rambunctious second act, in which he introduces eight characters in uniform in a barracks setting, and yet makes them all vividly individual, is a marvel of concision and inspiration, and, after seeing The Plough & the Stars earlier this year on the same stage, perhaps just a bit reminiscent of O’Casey. Thoroughly contemporary though is the abstracted third act’s pairing of the men on their leave before the full measure of devotion is called for. Not least because while Millen forces some courage into Moore on a rickety bridge, Crawford literally beats metaphysical common sense into Roulston, and Anderson helps McIlwaine mount a late Orange march, Pyper on a remote island entices Craig into revealing that he is also a rare boyo. McGuinness’ reaching across the divide to depict Unionists is mirrored in an audience weeping for McIlwaine, who would of course beat them all senseless for being Taigs.

The emotional knockout punch of the final charge by the doomed soldiers may be the most moving theatrical moment 2016 will see.

4.5/5

June 11, 2016

Othello

The Abbey joins in the Shakespeare 400 celebrations with its first ever production of Othello and it’s a vibrant cracker

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Beware my lord of jealousy, it is the green-eyed monster that doth mock the meat it feed on

Respected soldier Othello (Peter Macon) has secretly married Desdemona (Rebecca O’Mara), to the dismay and fury of her father Brabantio (Peter Gowen) when he is roused with the news by failed suitor Rodrigo (Gavin Fullam). But the support Brabantio initially receives from his peers on the Council; Lodovico (Barry Barnes), Gratiano (Michael James Ford), and the Duke (Malcolm Douglas); evaporates when they realise his righteous indignation is directed at Othello, for the Ottomans are moving against Cyprus, and Othello is Venice’s indispensable man. Little does Othello realise that Cyprus will turn out to be a psy-ops front rather than a naval engagement. For despite being governed by his friend Montano (Des Cave) Cyprus will prove no home as his ensign Iago (Marty Rea) whispers poison in his ear in an attempt to usurp Cassio (John Barry O’Connor) as Othello’s lieutenant.

Director Joe Dowling seems to dispense with Coleridge’s celebrated ‘motiveless malignity’ of Iago for a fascinating interpretation; that Iago himself is acting throughout under the spell of the same species of madness he casts over Othello. While he is resentful of being passed over for promotion, his true anger seems to circle around his wife Emilia (Karen Ardiff) having betrayed him with the Moor. Iago’s cold treatment of Emilia thus seems a parallel to Othello’s rough abuse of Desdemona – having been turned against her. And his wail at the result of his handiwork adds to this impression; a man suddenly waking from a fugue state horrified at what he’s done. Macon’s performance is extremely impressive, and surprising. Instead of ‘the noble Moor’, dignifying every syllable, he gives us a soldier whose early scenes of camaraderie are rambunctious bordering on rowdy, and whose descent into madness involves howling, screaming, and an epileptic fit. Othello’s modesty about his linguistic skills can seem farcical given his poetic eloquence, but here it signals insecurity because English is his second language, as the American Macon delivers Shakespearean verse with some acutely noted notes and flourishes of sub-Saharan African speech. Rea, in a rare occurrence, is asked to act in his own Northern Irish accent, and this also strips away posturing. Instead of grandstanding in his own villainy in RP, Iago is a street-corner slouch of bored contempt and hidden spite; in which each soliloquy seems to expose a man trapped in his own world of hatred – given memorable visual expression by Sinead McKenna’s lights spotlighting a wordless conversation between Cassio and Desdemona while Iago creeps closer to them, railing at them, lost in solipsistic hate.

Desdemona’s passivity works best as a sheltered girl’s naivety about the world, but O’Mara is too old for the role. Desdemona is thus infuriatingly clueless, but O’Mara does gives full impact to James Cosgrove’s fight direction by selling one of the most shocking stage-punches I’ve seen. Ardiff is a highlight in support making Emilia a beacon of common sense and proto-feminist, but rendering Bianca (Liz Fitzgibbon) as an O’Casey streetwalker is a cheap and mean gag. Dowling’s staging is less naturalistic than previous returns from Minneapolis like 2003’s All My Sons or 2011’s The Field. Indeed Act 3’s celebrated temptation scene takes place against what becomes a blood-red backdrop of ocean upon which vast shadows are cast as Iago corrupts Othello. Before that Venice has been represented by a massive suspended plaque, and as Othello descends into psychosis the walls almost literally close in on him, as the ocean backdrop is truncated by successively closing over more and more of the wooden panelling of Riccardo Hernandez’s set which is identical to the Abbey’s off-stage decor.

It remains bizarre to have chosen this play because of one line, which elicited sustained tittering heedless of the dead and maimed littering the stage during its delivery, but Dowling affords the Bard’s tragedy of jealousy a bold debut.

4/5

Othello continues its run at the Abbey Theatre until the 11th of June.

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.

April 20, 2016

The Plough and the Stars

The Abbey curtains up second in the curious case of the duelling Sean O’Casey productions for the 1916 centenary, but their rendition of his 1926 provocation surpasses the Gate’s Juno.

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O’Casey’s final Abbey play depicts the Rising exploding the lives of the extended Clitheroe family and their tenement neighbours. The socially ambitious Nora Clitheroe (Kate Stanley Brennan) is cordially disliked by her neighbours Mrs Gogan (Janet Moran) and Bessie Burgess (Eileen Walsh). Voluble dislike exists within the Clitheoroe clan as preening Citizen Army peacock Uncle Peter (James Hayes) is tormented by the Young Covey (Ciaran O’Brien) for his ignorance of true socialism, and ridiculous garb. Ignoring these political spats is Jack Clitheroe (Ian-Lloyd Anderson) who resigned from the Citizen Army on being passed over. However, when it’s revealed he was promoted, but Nora hid the letter from him, Jack furiously leaves her to join a monster rally whose Pearse-derived rhetoric stirs the patriotism of even the disreputable Fluther (David Ganly). The Rising sets the scene for looting and Nora’s undoing…

English director Sean Holmes has spoken of how he approached the text as if it was a Shakespeare play, not bound by its period. This aesthetic is evident everywhere, from Jon Bausor’s intimidating steel staircase with multiple landings, to Catherine Fay’s modern dress costumes including hardhats, via Paul Keogan’s disruptive lights which render the Figure in the Window a glare from a big screen in a pub, to Philip Stewart’s thumping music between acts, and it pays off in spades. Needless to say this is all very much ‘Not Chekhov’ to reference the multiple audience walkouts back in October at a similarly radical take on The Cherry Orchard. But it works, and works gloriously. Consumptive Mollser (Mahnoor Saad) singing the national anthem at the start of the show (in a transparent bid to bring the audience to their feet at every performance) before coughing blood; Fluther, Mrs Gogan, and Mrs Burgess all directly cajoling and heckling the audience; Fluther robbing cans and puncturing one which sprays the audience before he desperately tries to drink it hands free – all these touches bring a Shakespearean vividness and rambunctiousness that casts these characters in a new light. Fluther’s drinking, whoring, and disdain of piety and patriotism becomes Falstaffian, Hotspur and Lady Percy hover over the abrupt parting of the Clitheroes, and King Lear shimmers over the finale’s madness and dead bodies, not least because O’Casey’s final kick in the teeth does in his more abrasive version of Cordelia.

4.5/5

The Plough and the Stars continues its run at the Abbey Theatre until the 23rd of April.

Have you read Jenersky’s Thesis on the Origin, Development, and Consolidation of the Evolutionary Idea of the Proletariat?

February 18, 2016

Juno and the Paycock

The Gate is first out of the traps in the curious case of the duelling Sean O’Casey productions to mark the 1916 centenary, as his 1924 classic is here directed by Crestfall playwright Mark O’Rowe.

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Declan Conlon and Marty Rea are a formidable pairing as O’Casey’s inimitable self-deluding male comedy double-act. Conlon is the self-proclaimed nautical veteran ‘Captain’ Boyle, a work-shy layabout who once crewed a boat to Liverpool and now infuriates his long-suffering wife Juno (Derbhle Crotty) by continually carousing with ne’er-do-well neighbour Joxer (Rea) and pleading medically mysterious pains in his legs whenever the prospect of a job appears. Juno’s uphill battle to maintain the family’s dignity takes place in a starkly decaying gray tenement room, with a staircase visible whenever the front door is left open. O’Rowe exploits this bleak space with increasingly dim lighting as the Boyle family is torn asunder by its own complexes of self-delusion, social climbing, and self-destructiveness; a matrix which O’Casey uses to skewer middle-class mores, the Catholic Church, Civil War Republicans, and the Trade Union movement.

It’s startling that in just 14 years Conlon has reached the age where people would think of him not for Hotspur but for Henry IV or Falstaff. He provides a Paycock long on voluble self-pity and contempt, but short on self-awareness and compassion. Conlon is terrific at waspish contempt, but his performance suffers by O’Rowe’s directorial choices. O’Rowe, possibly reacting to Howard Davies’ 2011 Abbey production of Juno, reins in the slapstick. Davies conjured business to emphasise O’Casey’s vaudeville clowning, but Ciaran Hinds’ self-deluding bombast made his later self-righteous fury truly scary. O’Rowe’s stricter fidelity to the text narrows Conlon’s range. And so Rea’s performance stays in the memory longer. He plays Joxer with an impish quality (as if he had flitted in from a Shakespearean fantasy to laugh at mortals), shrinking into as little space as possible, legs always coiled around each other, darting in and out of windows and across the stage startlingly quickly, and extending his final refrain of ‘A Daaaarlin book’ into an almost serpentine hiss.

Paul Wills’ austere set design tracks O’Rowe’s approach, a drab room with sparse and meagre furnishings in comparison to Bob Crowley’s sprawling 2011 Abbey set, whose vivid crumbling was akin to Tyler’s brownstone in Fight Club. In this setting Crotty’s turn as Juno is characterised by exhaustion above exasperation, not the Fassbendering turn one might have anticipated; instead Ingrid Craigie’s Maisie Madigan steals scenes. Juno’s valedictory ‘It’ll what have what’s far better, it’ll have two mothers’ is hollowed by Crotty’s hapless resignation towards crippled Republican son Johnny (Fionn Walton) and synchronicity with Union daughter Mary (Caoimhe O’Malley). O’Malley elevates Mary from cipher, layering cruelty towards her ex-boyfriend (Peter Coonan) with an initial startled adherence to and a later dogged rebellion against sexual morality that seems self-destructive compulsion. Given Juno’s self-pitying matrimonial rebukes that are both loudly performed and ineffectual O’Rowe hints at matrilineal failings that bode ill for Mary’s child.

The 2011 Abbey co-production with Southbank’s National Theatre remains the recent gold standard, but O’Rowe’s more subdued take features sufficient fresh unexpected insights to render it an interesting companion piece to Davies’ exuberant interpretation.

3.5/5

Juno and the Paycock continues its run at the Gate Theatre until the 16th of April.

 

November 10, 2015

An Alternative Abbey 2016 Programme

I’d been waiting for the Abbey’s new season, and was disappointed by it. I didn’t think much of their commission choices, and felt their other selections betrayed a peculiarly apologetic and almost self-loathing attitude towards a celebration of our independence. So I thought about what I might have programmed instead…

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Here are the essentials of the Abbey’s 2016 programme to September:

 

*Cyprus Avenue by David Ireland

(dir: Vicky Featherstone)

The Plough and the Stars by Sean O’Casey

(dir: Sean Holmes)

*New Middle East by Mutaz Abu Saleh

(dir: Bashar Murkus)

*Tina’s Idea of Fun by Sean P Summers

(dir: Gerry Stembridge)

Othello by William Shakespeare

(dir: Joe Dowling)

*Town is Dead by Philip McMahon & Ray Scannell

(dir: TBC)

The Wake by Tom Murphy

(dir: Annabelle Comyn)

Observe the Sons of Ulster Marching Towards the Somme by Frank McGuinness

(dir: Jeremy Herrin)

 

Here are the essentials of my alternative Abbey 2016 programme:

 

*Commissioned Work by Mark O’Rowe

(dir: Mark O’Rowe)

John Bull’s Other Island by George Bernard Shaw

(dir: Roisin McBrinn)

*Not I by Samuel Beckett, Play by Samuel Beckett, On Baile’s Strand by WB Yeats, Riders to the Sea by JM Synge

(dir: Annie Ryan)

*Delirium by Enda Walsh

(dir: Conall Morrison)

Making History by Brian Friel

(dir: Patrick Mason)

*The Effect by Lucy Prebble

(dir: Annabelle Comyn)

Commissioned Work by Marina Carr

(dir: Selina Cartmell)

The Wake by Tom Murphy

(dir: Annabelle Comyn)

 

*Plays marked with an asterisk are on the Peacock stage.

This alternative programme is of course a fantasy, because it takes no account of the availability of directors and playwrights, but it does utilise people who have done fine work at the Abbey in recent years. It commissions new plays from two of our finest playwrights, Mark O’Rowe and Marina Carr, and gives Enda Walsh’s exuberant Dostoevsky adaptation from 2008 the chance of a subtler interpretation. The Shavian elephant in the room is finally tackled, and what better time for Shaw’s exuberant interrogation of our capacity for self-government? The late Brian Friel is honoured with a timely production of his exploration of exile and myth-making in Irish history, while Tom Murphy’s more recent dissection of exile and return ends the summer season. The Abbey’s fullest spectrum is utilised: Revival classics are paired with two of Beckett’s trickiest works, and Comyn returns to her beginnings in directing a contemporary English play.

The Abbey perhaps stands at an odd angle to 1916. It is after all a national theatre older than its politically constituted nation, led in its early days by Anglo-Irish writers with a gift for enraging their Irish audience, and its seminal engagement with the decade of revolution was by a writer whose corrosive scepticism spared no institution. The Plough and the Stars is the obvious choice for marking the Rising, perhaps too obvious a choice. It has been staged too frequently to too little effect in the last decade to be wheeled out once again to throw cold water over Pearse’s dream. Not least when Observe the Sons of Ulster Marching Towards the Somme is deliberately programmed against it, as if we’re apologising to Unionists for rebelling when we could have been nobly dying for the British Empire instead. As for Othello, one quote deployed by Haughey does not a state of the nation play make. Serious engagement with Shakespeare’s quatercentenary would be a post-colonial take on The Tempest.

1916 is to be celebrated like 1776 or 1789, not apologised for, agonised over, or disparaged. The only way to discuss a programme of plays is to parse it qualitatively play by play, because that’s how people choose to go to the theatre: play by play, depending on their particular artistic cost-benefit analysis of the actors, the playwright, the director, and the subject matter. I’ve felt compelled in disliking so many of the Abbey’s individual picks to present an alternative programme of plays. Consonant with my banishing O’Casey I say there’s little use tearing down everything and building up nothing.

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…

July 28, 2015

The Shadow of a Gunman

Director Wayne Jordan returns to the Abbey after 2012’s The Plough and the Stars for another summer production of a venerable Sean O’Casey Dublin play.

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Donal Davoren (Mark O’Halloran) is trying to write poetry in a Dublin tenement in May 1920. A task rendered nigh impossible by his talkative roommate Seamus Shields (David Ganly), and constant interruptions from a never-ending stream of visitors. There are Shield’s Republican associate Maguire (Muiris Crowley), hated landlord Mulligan (Gerard Byrne), and fellow tenants, the excitable Tommy Owens (Lloyd Cooney) and the flirtatious Minnie Powell (Amy McAllister). And that’s just for starters. Over the course of a long day Davoren gets no verse composed as he finds himself implored by Mrs Henderson (Catherine Walsh) to stand up for put-upon Mr Gallogher (Malcolm Adams) at the Republican courts in his capacity as an IRA gunman on the run. Davoren is happy to play along with this glamorous misunderstanding, until his masquerade suddenly turns all too real with searches, bullets, and bombs…

The Shadow of a Gunman’s two acts are played through without an interval. As so often with Jordan’s work it’s hard to discern the artistic imperative of that decision. It seems impossible for Jordan to inspire negative reviews, but this showcases his consistent flaws as much as it does his trademarks; down to O’Halloran reprising Jordan’s Twelfth Night tic of eschewing socks with shoes. Sarah Bacon’s tenement set has impressive depth, but it has none of the grimy realism of Bob Crowley’s 2011 Juno and the Paycock creation, and it seems to belong to a much later time-period, as does her brightly coloured short dress for Minnie Powell. Perhaps then this production is meant to be a critique of fellow-travellers in the years before the Troubles kicked off, with Davoren a nationalist who talks the talk but shrinks from walking the walk. No. But then sets and costumes have made illusory promises or served one joke in Jordan’s oeuvre before.

The costume is the first step to transforming the confident survivor O’Casey wrote into McAllister’s interpretation of Minnie as wide-eyed innocent. Surrounding her Crowley camps it up as Maguire, and Cooney is nearly a teenager in a Martin McDonagh Leenane play; giving the idea that fighting for anything is a bad joke. Ganly eventually hits his stride as Shields, but it’s hard, after Alice in Funderland, not to feel Jordan is laughing at religion in its own right when it comes to Shields’ religiosity, rather than laughing with anger at the hypocritical use of religion as O’Casey intended. O’Halloran plays Davoren’s frustration well, but his exaggerated movements seem a bit too much commedia dell’arte elsewhere; this is not a role akin to his scene-stealing turn in Hay Fever after all.

Gunman, courtesy of Mel Mercier’s impressive sound design, ends with a bang; but this is a consistently misfiring production.

2/5

The Shadow of a Gunman continues its run at the Abbey until August 1st.

June 18, 2015

The Irish Dramatic Revival 1899-1939

I was lucky enough last night to attend the launch in the Abbey theatre of Professor Anthony Roche’s latest book The Irish Dramatic Revival 1899-1939.

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Professor Patrick Lonergan of NUIG, who edited the book for Bloomsbury Methuen Drama, gave a generous introductory speech; noting as an undergraduate in UCD in 1993 he had been struck by the way Roche presented his lectures as if he’d just rushed from a good play either in the Gate or in UCD Dramsoc’s LG theatre and was eager to tell his students about it so they could experience it too. Indeed Lonergan claimed that he remembered lectures Roche gave then more vividly than lectures he’d heard in the last month. Roche’s interest in, and support for, UCD Dramsoc was attested to by the presence of former students Caitriona Ennis, Caitriona Daly, and Eoghan Carrick, now rising stars of the Dublin theatre scene as the founding members of We Get High On This theatre company.

Fiach Mac Conghail, the artistic director of the Abbey, praised Roche for inscribing performance into the study of the Revival. Yeats may have prioritised a literary theatre, but he still needed actors to speak his words, and Mac Conghail noted that without the Fay brothers and the Allgood sisters the early Abbey would not have succeeded. He also noted that Roche had a telling eye for gossip in detailing the power struggles by which Yeats managed to subvert a democracy of actors and writers, and instead form a smaller unit; centred on himself; who decided what plays to perform and who to cast in them. Mac Conghail observed that questions of art and commerce as were laid bare in the book still beset the current Abbey board, and that the duality of the theatre was captured by the term ‘show-business’.

Mac Conghail also praised Roche for matching his prioritisation of the collaborative nature of the Abbey repertory players and the Abbey writer/directors with a reinstatement of the influence on the Abbey writers, particularly JM Synge and Sean O’Casey, of Henrik Ibsen; a reinstatement practised in the Abbey’s current season which deliberately followed a new version of Hedda Gabler with a revival of The Shadow of a Gunman. Mac Conghail also promised that Shaw would return to the Abbey at Christmas (Which Shaw? Wait and See), and praised the work done by Roche, as well as Frank McGuinness, in writing Shaw back into the narrative of the Revival; ‘The Absent Presence’ as Roche’s chapter dubs him. Roche launched the book officially by noting that Bloomsbury’s offer to write a book accessible to general audiences gave him a chance he’d been waiting for – to tell the long narrative of the theatrical Revival.

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Director Patrick Mason and Prof. Tony Roche

The Irish Dramatic Revival: 1899-1939 by Professor Anthony Roche is published by Bloomsbury Methuen Drama.

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