Talking Movies

January 26, 2018

My Own Personal Theatre Awards 2017

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

Best Production

Waiting for Godot (Druid/The Abbey)

The Effect (Project Arts Centre)

The Dumb Waiter (The Gate)

The Pillowman (The Gaiety)

I Hear You and Rejoice (The Pavilion)

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

Tribes (The Gate)

 

Best New Play

The Effect by Lucy Prebble (Project Arts Centre)

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

Tribes by Nina Raine (The Gate)

Autumn Royal by Kevin Barry (Project Arts Centre)

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

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

 

Best Director

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

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

Joe Dowling – The Dumb Waiter (The Gate)

Andrew Flynn –  The Pillowman (The Gaiety)

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

Catriona McLaughlin – Autumn Royal (Project Arts Centre)

Best Actor

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

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

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

Garrett Lombard – The Dumb Waiter (The Gate)

Lorcan Cranitch – The Dumb Waiter (The Gate)

Peter Gowen – The Pillowman (The Gaiety)

Philip Judge – King Lear (The Mill Theatre)

Donal Gallery – The Effect (Project Arts Centre)

 

Best Actress

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

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

Clare Dunne – Tribes (The Gate)

Charlie Murphy – Arlington (Landmark/The Abbey)

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

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

Rebecca O’Mara – Private Lives (The Gate)

 

Best Supporting Actor

Mark Huberman – The Great Gatsby (The Gate)

Nick Dunning – Tribes (The Gate)

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

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

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

Gary Lydon – The Pillowman (The Gaiety)

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

Michael David McKernan – King Lear (The Mill Theatre)

Gavin Drea – Tribes (The Gate)

Ronan Leahy – The Effect (Project Arts Centre)

 

Best Supporting Actress

Aoibheann McCann – The Great Gatsby (The Gate)

Fiona Bell – Tribes (The Gate)

Ali White – The Effect (Project Arts Centre)

Sharon McCoy – King Lear (The Mill Theatre)

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

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

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

Best Set Design

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

Owen MacCarthaigh – The Pillowman (Gaiety Theatre)

Ciaran Bagnall – The Great Gatsby (The Gate)

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

Conor Murphy – Tribes (The Gate)

Jamie Vartan – Arlington (Landmark/The Abbey)

 

Best Lighting Design

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

Ciaran Bagnall – The Pillowman (The Gaiety)

Jason Taylor – The Dumb Waiter (The Gate)

Kris Mooney – King Lear (The Mill Theatre)

Adam Silverman – Arlington (Landmark/The Abbey)

 

Best Sound Design

Carl Kennedy – The Pillowman (The Gaiety)

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

Declan Brennan – King Lear (The Mill Theatre)

Helen Atkinson – Arlington (Landmark/The Abbey)

Ivan Birthistle – Tribes (The Gate)

 

Best Costume Design

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

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

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

The Costume Room – King Lear (The Mill Theatre)

Special Mention

Bryan Cranston – Network (National Theatre)

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

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

 

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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

August 24, 2017

Work Suspended… And Other Stories

Filed under: Uncategorized — Fergal Casey @ 4:24 pm
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Some months ago I vaingloriously promised that the blog would be getting back on track. As regular readers might note, it didn’t quite do so.

I explained that I’d been experiencing tremendous logistical and technical difficulties in writing and posting the blog for quite some time, and foolishly opined that they should be resolved in the coming days. Alors… The technical difficulties were overcome, only for more and gravely deeper logistical difficulties to unexpectedly appear, and then as a final coup de grace different technical difficulties cropped up. Making promises is a foolhardy business, so I will refrain from offering any further hostages to fortune. Talking Movies is back on as even a keel as can be expected from it any more. I aspire to update the blog weekly, but I know that I will not always achieve that aspiration. I expect to write less and less as the year goes on, but will try to cover the most important films and plays as practicable.

Now here, at last, are the theatre reviews of then recent productions promised all the way back in March: The Pillowman, Arlington, The Dumb Waiter.

March 24, 2017

Work Suspended

Filed under: Uncategorized — Fergal Casey @ 11:23 am
Tags: , , , ,

I’ve been experiencing tremendous logistical and technical difficulties in writing and posting the blog for quite a while now.

Hopefully they should all be resolved in the coming days.

Talking Movies will then return with belated theatre reviews of recent productions of The Pillowman, Arlington, and The Dumb Waiter.

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