Talking Movies

October 3, 2016

A Midsummer Night’s Dream

Director Sean Holmes returns to the Dublin after his bold version of The Plough and the Stars some months back, but this show seems to indicate he was on his very best behaviour for that…

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The implacable Duke of Athens Theseus (Harry Jardine) is distracted from his upcoming nuptials to Hippolyta (Cat Simmons) by romantic problems in his court, specifically the complaint of Egeus (Ferdy Roberts) that Lysander (John Lightbody) has wooed his daughter Hermia, despite Egeus sanctioning her betrothal to Demetrius. Hermia and Lysander run away to the forest beyond the writ of Theseus, but a jealous Helen (Clare Dunne) betrays her erstwhile friend Hermia by telling Demetrius of this deception. As the four lovers stumble thru the forest they fall foul of the machinations of quarrelling fairy royal couple, Oberon and Titania (Jardine and Simmons again). Oberon, aided by his faithful spirit Puck (Roberts again), amuses himself toying with the mortals’ affections, and humiliates his Queen into the bargain by making her fall in love with Bottom (Fergus O’Donnell), transformed into a donkey.

Well, that’s the plot of A Midsummer Night’s Dream. But Holmes and co-director Stef O’Driscoll don’t seem to have much interest in that. Instead the focus is on Ed Gaughan as Peter Quince, Fergus O’Donnell as Bottom, and Keith De Barra as Keith the gentlest drummer in Wicklow three years running – aka The Mechanicals. Who doesn’t love a high concept ditched at the first sign of trouble? Well, I don’t when a large portion of the running time is spent in setting up the conceit that O’Donnell is a Mancunian musician stepping in from the audience to keep the show going after we’ve been told guest star Brendan Gleeson is trapped in a lift and can’t play Bottom so the show can’t go on, and that concept then fades into air, thin air, after generating too much ‘meta-fiction’ hot air.

To paraphrase GK Chesterton, I will not say that what occurred at the Grand Canal Theatre the other night was a production of A Midsummer Night’s Dream, but rather a mixture of stand-up comedy, slapstick nonsense, sub-D’Unbelievables audience interaction, and musical numbers, into which iambs from A Midsummer Night’s Dream were introduced from time to time with a decent show of regularity. If, like Blackadder, you cannot find comedy in Shakespeare’s comedies, you don’t have to do them; you can do something else instead, maybe something that’s more your cup of tea, like Noises Off. I gave tgSTAN’s Cherry Orchard and Holmes’ Plough & Stars enthusiastic standing ovations, but I did not stand and clap this, because to deliver a bold and vibrant interpretation of a classic it is first necessary to engage with the actual text of the classic.

Cat Simmons was magnificently cast as Titania, someday I hope to see her perform the role in a production of A Midsummer Night’s Dream.

2.5/5

July 31, 2016

Dublin Theatre Festival: 10 Plays

Tickets go on sale for the 2016 Dublin Theatre Festival at 10:00am on Tuesday August 16th. Here are 10 shows to keep an eye on.

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Helen & I 27th September – October 1st Civic Theatre

The great Annabelle Comyn decamps to Druid to direct an original script by newcomer Meadhbh McHugh. Rebecca O’Mara is the ‘I’, returning home to fence with older sister Helen (Cathy Belton) as their father lies dying. It’s always great when Druid tour, and hopefully this will be a return to form for Comyn after the bafflingly praised debacle of The Wake.

 

A Midsummer Night’s Dream 28th September – October 1st Grand Canal

Sean Holmes, responsible for the recent, storming Plough & Stars in the Abbey, returns with co-director Stef O’Driscoll for a Shakespearean rampage. This looks to be very much a ‘This was not Chekhov’ production, but in the best sense, as the text is stripped down to 90 minutes, with live grunge band, nerf gun battle, and an epic food fight.

 

Don Giovanni 29th September – October 2nd Gaiety

Roddy Doyle has for some reason decided to update the libretto to Mozart’s opera about the womaniser par excellence. Eyebrows must be raised at the amount of ‘versions’ he’s doing versus original writing in recent years. Pan Pan’s Gavin Quinn will be directing, while Sinead McKenna follows up her acclaimed diabolist lighting design for The Gigli Concert’s finale with some bona fide operatics.

 

The Father 29th September – October 15th Gate

Just when Michael Colgan had lurched into self-parody by programming The Constant Wife he conjures an ace from nowhere: a piece of new writing from France that has swept all before it on Broadway and Piccadilly. Ethan McSweeney directs Owen Roe as a man suffering from Alzheimer’s, while the supporting cast includes Peter Gaynor and Charlotte McCurry, and Francis O’Connor is set designer.

 

Guerilla 30th September – October 2nd Project Arts Centre

It wouldn’t be a festival without some fellow PIIGS getting bolshy about neo-liberalism, the failure of Europe, and the age of austerity. This year it’s El Conde de Torrefiel company from Spain, presenting the confused inner universe of a group of people inhabiting the same city and collective consciousness, represented by projected text over an electronica concert, Tai Chi class, and conference.

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Death at Intervals 4th October – October 8th Smock Alley

Trailing clouds of glory from its Galway premiere comes an adaptation of Jose Saramango’s novel directed by Kellie Hughes. Olwen Fouere is the grim reaper in retirement, accompanied by her faithful musician Raymond Scannell. Death likes to dance too. A mixture of music, theatre, and dance, with Scannell also co-composing with Alma Kelliher; but he did also compose Alice in Funderland

 

Alien Documentary 4th October – October 8th Project Arts Centre

I’ve read this production’s pitch repeatedly and I’m damned if I can figure out what it is. Director Una McKevitt is apparently mixing transcriptions of real people’s conversations with invented dialogues of her own imagining, so that’s her writing credit sorted. But what exactly is this show? PJ Gallagher, James Scales, and Molly O’Mahony having unconnected deep/comic conversations for 90 minutes?

 

The Seagull 5th October – 16th October Gaiety

Writer Michael West and director Annie Ryan together fashion a modern version of Chekhov’s tale of unrequited loves starring the oft-Fassbendering Derbhle Crotty as well as Genevieve Hulme-Beaman who shone in support in the Abbey’s You Never Can Tell. But will this Corn Exchange production be as hit and miss as their version of Desire Under the Elms that severely downsized O’Neill’s ambition?

 

Donegal 6th October – 15th October Abbey

Frank McGuinness’s new musical/play with music/musical play sounds unfortunately like a pilot for the Irish version of Nashville, as a fading country music star is threatened by a new talent she must curry favour with for her own survival. Director Conall Morrison specialises in exuberance, and grand dames Deirdre Donnelly and Eleanor Methven appear beside Once’s Megan Riordan, but can McGuinness make a comeback?

 

First Love 12th October – 16th October O’Reilly Theatre

Reminding us why he was important before the age of austerity Michael Colgan directs Gate stalwart Barry McGovern in a solo Beckett outing. This time they head up the road to Belvedere College for a Beckett novella turned into a one-man show about a rather existentialist-sounding refusal of a man to fall in love with a woman who’s in love with him.

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