Talking Movies

May 26, 2014

Fast Intent presents Zelda

Before she was Zelda Fitzgerald, she was Zelda Sayre. Before she was a Riviera socialite, she was a Southern belle. Before she was F Scott’s crazy tormentor, she was his beloved muse. And both personae are explored in Eddie Naughton’s new play, Zelda, based on Zelda’s life and own writings.

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I’ve been poring over Blake Bailey’s biography of Richard Yates (A Tragic Honesty) again recently, and was struck by the notion that Yates had modelled himself so much on the doomed F Scott as a writer that his entire life started to slide into equal drink-fuelled catastrophe. Yates, of course, was compounding his own mental illness with drinking that erased his medication’s benefit; and Zelda’s own slide into madness was not dissimilar. But there’s another striking note in Bailey’s book; the idea that every writer has some essential tale to tell, that can be disguised in any number of interesting ways – but will always be at the core of their best work. For F Scott, that was his love for the unattainable Zelda; and The Great Gatsby was F Scott spinning out that epic romance into a piercing continent-encompassing metaphor.

Naughton’s play strips away the Daisy Buchanan facade to examine the real woman in a script which puts Zelda in a hospital room telling her story. Zelda Sayre was a Southern belle who became internationally famous alongside her husband F Scott Fitzgerald whose stunning debut This Side of Paradise mythologised their romance; casting Zelda as the archetypal flapper. Their life together was a never-ending parade of alcohol-fuelled jazz-scored parties, with F Scott’s talent keeping them in a luxurious lifestyle; in New York, Paris and the Riviera; previously reserved for the self-indulgent robber barons. Friends with Cole Porter, Hemingway and Dorothy Parker, a writer and painter, dancer and mother, it should never have ended in a fiery death at a psychiatric hospital; but such was the price of alcoholism and escalating mental illness. Naughton resurrects the biting wit before that curtain.

Zelda seems a perfect fit for Fast Intent. Fast Intent was set up in 2011 by director Sarah Finlay and actors Ger Adlum and Nessa Matthews. Their previous productions include Harold Pinter’s Ashes to Ashes (The Complex), Family Voices and One for the Road (New Theatre), Jean Anouilh’s The Lark and William Shakespeare’s Macbeth (both Smock Alley), and an adaptation of Dracula for the Bram Stoker Festival at Dublin Castle; part of a residency there which included Shakespeare by Candlelight in December and a series of monologues for Culture Night in September. Zelda joins Joan of Arc as another radical heroine for Fast Intent to explore in their pared down style that focuses on ideas and emotions. Zelda is performed by Sharon Coade, directed by Sarah Finlay, and produced by Gerard Adlum and Keith Thompson, with Lights, Sound, and Set design by Eoghan Carrick, Nessa Matthews, and Aoife Fealy respectively.

Zelda runs at Theatre Upstairs from Tuesday the 3rd of June to Saturday 14th. Performances are at 1pm, Tuesday to Saturday, when the ticket price of €10 includes a light lunch. There are 7pm performances from Thursday to Saturday. Bookings can be made at http://www.theatreupstairs.ie.

December 9, 2013

Macbeth Needs Your Money!

Do you want to fund an attempt to recreate the atmosphere of a production of Macbeth in Shakespeare’s Globe in Smock Alley? Then click on this link,http://fundit.ie/project/macbeth-1, and take your own tiny step towards being Geoffrey Rush in Shakespeare in Love – “Who are you?” “Ah, well, I’m the money”…

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For two weeks in January theatre troupe Fast Intent will convert the atmospheric Smock Alley Boys School space into a traditional Elizabethan Playhouse, a theatre of the type that Shakespeare himself would have recognised. In this heaving indoor cauldron; complete with Shakespeare’s favourite trouble-makers, rowdy groundlings who stand rather than sit because their tickets cost so little; they will present one of Shakespeare’s greatest and most thrilling plays – the brilliantly bloody Macbeth. Taking inspiration from research into Elizabethan and Jacobean staging practices they promise an engaging, thrilling experience, full of blood and guts, swords and shields, raucous crowds and high drama. Playing the power couple to avoid like the plague in medieval Scotland are Gerard Adlum (as Macbeth) and Jennifer Laverty (as Lady M), who both greatly impressed in previous Fast Intent production The Lark. Finbarr Doyle is the vengeful MacDuff, and the ensemble includes Patrick Doyle (fresh from his brilliant Harker in Fast Intent’s recent Dracula), Katie McCann, Conor Marren, Kyle Hixon,Claire Jenkins, and Jamie Hallahan. The set design is by Cait Corkery, and other crew members include Carol Conway and Caoimhe Murphy.

So why fund Macbeth? Star Gerard Adlum explains the appeal of the Thane thus: “He may not have Hamlet’s education, or Richard II’s eloquence, but Macbeth has a dextrous grasp of language and expresses himself with the ease of a poet, though his thoughts are never easy. Left to his own devices he deals in metaphors and similes, as if he desperately needs the audience to know that he is not a thug, not a brute. The challenge for the actor is not to prove his strength but to reveal his innate vulnerability.” For Adlum Macbeth’s key line of self-justification is ‘Things bad begun make strong themselves by ill’ – “This is the unfortunate logic that drives him on; two wrongs will eventually make a right.” Director Keith Thompson, a sometime co-writer and co-director hereabouts, has previously helmed productions of Richard III and Hamlet; the former starring Adlum as Buckingham. “I have wanted to direct Macbeth for years. It is both incredibly simple and complex. Complex in that it seems to cram into two hours the entire gamut of human emotions: love, hope, fear, desire, greed, guilt, loss. At the same time its speed and simplicity means there is no time to stop and think. Everything is truly experienced in the moment. It lends itself to constant re-interpretation, having something to say for each and every generation. It is human, raw and very, very messy.” Thompson finds Lady MacDuff’s line ‘but I remember I am in this earthly world where to do harm is often laudable, to do good sometime accounted dangerous folly’ “incredibly relevant to the world we are currently living in, where apathy is our common discourse and greed often not just considered lawful, but admirable. It shows that though this may have always been the case, there are always people who will identify it and struggle against it.”

So, that’s what they have to say. So why do I say to you fund Macbeth? Well, I’ve already thrown money at it because this is Fast Intent doing Macbeth. Fast Intent consistently pare back plays to their bare bones, and focus the audience’s energy onto the performances and the text. When it worked with Dracula it brought Stoker’s best prose to vivid, sensuous life. In The Lark it aided Anouilh’s theological ideas to sparkle across the stage, with real emotions grounding them in reality. And this is a cast that has proven itself at Shakespeare at a young age. While still in college Finbarr Doyle played Richard III with gleeful malevolence, Patrick Doyle played Macbeth with striking originality as distracted by visions, and Gerard Adlum played Lear with a startling maturity for such a young actor. But having a great cast is only one competent here. The key to successfully staging Shakespeare is not being afraid to cut his words. Reverence before his text too often is simply fear and trembling before the Bard rather than awe; and the result is a slow untheatrical death. But you need to have a confidence bordering on chutzpah to do the needful sometimes and meddle with the sacred scriptures. Keith Thompson, directing Hamlet in 2012, cut Polonius’ advice to Laertes, in its entirety, because he wanted a more serious Polonius. So, yeah, he has the confidence to pull this off bustling take…

Fast Intent’s goal is to raise €3,500, which will cover about half of the production costs; including costumes and hiring the venue – Smock Alley’s Boys School. The other half of the budget will consist of sponsorship from local businesses and by hosting various fundraising events. The contribution of Fundit donors is thus vital to the successful realisation of Macbeth. Fast Intent was established in 2011 by Sarah Finlay, Ger Adlum, Nessa Matthews and Keith Thompson. Their theatrical work to date has included acclaimed productions of Harold Pinter’s Ashes to Ashes (The Complex), Family Voices and One for the Road (both New Theatre) and The Lark by Jean Anouilh (Smock Alley). 2013 has seen them producing an entire body of work for Dublin Castle’s cultural programme, including historical monologue pieces for Culture Night, an adaptation of Dracula for the Bram Stoker Festival and the just gone Christmas show, Shakespeare by Candlelight. Rewards for funding at various levels are set out on the website, where the company also expresses its desire to have you asone of their “dearest partners of greatness”.

Go on, dream of sound and fury, and click http://fundit.ie/project/macbeth-1

August 7, 2012

The Lark

Anouilh’s strikingly modern take on Joan of Arc is performed in the strikingly antique Boys School space in Smock Alley.

The audience sit on benches in front of a stage, bare except for chairs and a chest, while the Lord Bishop Cauchon (Gerard Adlum) and the Earl of Warwick (Dave Fleming) discuss how they will conduct the trial, as if the audience were attending it in 1431, and inform us that they can’t enter the battles in evidence as they don’t have enough men to stage them… Eoghan Carrick’s spotlights aid fluid switches between the trial and flashbacks, while the monastic garb (with extra medieval caps and steeple hats for actors playing multiple roles) epitomises director Sarah Finlay’s high seriousness. This is a stripped-down production which demands absolute concentration from the audience on fierce theological arguments debated in front of a centuries old Romanesque wall.

Warwick, a sardonic Machiavellian, wants Joan condemned in order to discredit her crowning of the Dauphin as King of France. Cauchon, however, insists the Maid is not for burning. Joan is allowed perform her family’s disbelief of her visions and her encounters with her local squire and the Dauphin. The father-daughter scenes convince not only because of the striking height difference between the two actors but also Shane Connolly’s nuanced portrayal of an exasperated but loving father, beating his daughter to try and protect her from herself. Sadly the other flashbacks drag. Ian Toner is nicely leering as de Beacourt, eager to exercise his droit de seigneur, and also amuses as the mistress of the Dauphin, but both scenes outstay their welcome. Ruairi Heading’s turn as the Dauphin similarly suffers in comparison to his more tightly written role of the compassionate Brother Ladvenu. Indeed the second act crackles with energy purely because Anouilh eschews flashbacks.

Joan (Caitriona Ennis) is frequently the still centre of a hurricane of ideas. Toner’s hysterical Promoter sees a seductive Devil everywhere. Joan’s suggestion that God could damn a soul, free will be damned is pounced on by him as a terrible heresy but then forgotten, even though it’s arguably proto-Calvinism. More rigorous is Jennifer Laverty’s terrifying Inquisitor, who attacks Joan for elevating Man in importance against and over God. Though ultimately suspiciously Manichean for a defender of Orthodoxy, in insisting that man is evil because he is worldly, the Inquisitor intimidates the other clerics, and if it’s not specified by the script is brilliant casting by Finlay as Laverty stands in ultimate judgement over another woman. Laverty also scoops a great line rebuking someone for confusing “charity, the theological virtue, and the murky liquid known as the milk of human kindness”. Fleming is wonderfully droll as Warwick, but Adlum has the most interesting role and he is riveting every time Cauchon clashes intellectually with Joan.

Cauchon is desperate to save Joan’s soul, and distances himself from Warwick’s politicking. Ennis plays saintly simplicity very well, the ‘sign’ she gives of recognising the disguised Dauphin is done with the playfulness of a child, while her connection to God when rebuking her favourite soldier for swearing is as utterly self-conscious as her performance of God’s voice for the benefit of her interrogators. Ennis also displays some nice signs of self-doubt under the subtle questioning of Cauchon on what Joan would do if one of her soldiers started to hear voices countermanding her orders… The steel and righteous savagery of Joan the soldier though only appears once when, in a speech uncannily similar to the contemporaneous The Crucible, she renounces her abjuration in order to be true to herself.

Fleming’s English accent is close cousin to a certain contemporary politician, suggesting chummy but callous people always triumph. But self-immolating in protest about that won’t change society, and Anouilh refuses to endorse either Joan’s martyrdom or Cauchon’s mercy. Anouilh’s Joan literally prefers burning out to fading away, but a script so focused on complicated ideas surely implicitly endorses thinking over feeling. Joan temporarily changed the world by emotional force of will, but perhaps the question of Calvinism is left hanging to make us realise that if Joan felt the truth of Calvinism it took Calvin’s application of rigorous theology to make it a force. The lesson: only by understanding a conventional wisdom can one hope to permanently change it.

Fast Intent provides an absorbing production of a thought-provoking play.

3/5

The Lark continues its run at Smock Alley Theatre until the 11th of August.

July 27, 2012

Fast Intent celebrate Joan of Arc

BBC 2’s recent Hollow Crown Henriad may have focused attention on the looming 600th anniversary of the Battle of Agincourt, but 2012 actually sees the 600th anniversary of the birth of Joan of Arc, and, while the occasion had a special commemoration in France, Fast Intent (a theatre company formed in late 2011 by director Sarah Finlay and actors Gerard Adlum and Nessa Matthews) are probably the only Irish arts organisation marking the occasion; with a staging of the perennially relevant story of an individual’s struggle against the hypocrisy of the institutions that surround them – Jean Anouilh’s classic The Lark.

Born mere years before the battle of Agincourt, in which the out-numbered Henry V heroically out-marshalled the French and established English claims to French territory, Joan was destined to eventually rout the English. At the age of 12, she stated that she had received visions from God telling her to drive the English powers from France. For two years, she led armies and a nation to war and to victory. But, captured by the English and tried for heresy, she was then condemned to death and burnt at the stake. Anouilh’s play is set during her trial, and we watch her extraordinary story played out and dramatised by the very people who wish to condemn her. Anouilh’s The Lark, in the celebrated translation by Christopher Fry, himself the author of legendary verse dramas The Lady’s Not for Burning and A Sleep of Prisoners, is receiving its Irish premiere under the direction of Sarah Finlay at the newly renovated Boys School space in Smock Alley Theatre.

The Lark is a dramatic account of the exceptional life of Joan of Arc. Over the centuries, Joan has taken on a mythological status, been utilised as a symbol and rarely recognised as a human being. She has been the subject of films of hysterically varying approach by Luc Besson and Carl Dreyer (among others), portrayed by actresses as different as Ingrid Bergman and Siobhan McKenna, and inspired Bernard Shaw’s St Joan which houses the most disturbing line of dialogue he ever wrote – “Must then a Christ die in every generation for those that have no imagination?” Claimed by the far right as a symbol of ultra-nationalism, by the Church as a Saint, and by the far left due to her ‘lowly’ beginnings as a shepherdess, Anouilh’s script seeks to recapture and explore rather than own or explain Joan’s story. Anouilh (1910-1987) and his 40 plays loom over French theatre because he had a rare facility for both high drama and absurdist farce. His 1952 play Waltz of the Toreadors was filmed with Peter Sellers, while his 1959 play Becket was filmed with Richard Burton and Peter O’Toole giving intense performances as St Thomas a Becket and Henry II. Anouilh’s best known play is his version of Sophocle’s Antigone (1942), a pointed attack on Vichy government, and a forerunner of The Lark (1953), another tale of a young woman defying her society’s strictures to do what she believes is right.

Fast Intent seeks to inflect this text with questions essential to modern Ireland. Is there a place for youth and idealism? Do we have a desire for truth? Can one person’s actions make a difference? The Lark is a story of belief, passion and the struggle for a single voice to be heard as Joan fights the classic modes of abusive authority; the government, the church, and older people who fear her idealism. Directed by Sarah Finlay, the production features a cast of 7 (Ger Adlum, Shane Connolly, Dave Fleming, Ruairí Heading, Jennifer Laverty, Ian Toner, and Catriona Ennis as Joan), 4 of whom will play multiple roles, giving an often humorous edge to proceedings. Adlum and Finlay have collaborated before on a previously mentioned production of King Lear as well as Fast Intent’s debut production of Harold Pinter’s Ashes to Ashes in The Complex, Smithfield in August 2011. That show was a riveting rendition of Pinter’s cryptic response to the Balkans Wars of the 1990s and was dubbed “thought-provoking and highly engaging” by DublinCulture.ie. The Boys School at Smock Alley has been a church, a brothel, a school-house and a theatre. Among these ghosts The Lark resurrects St Joan…

The Lark runs from Tuesday 31st July to Saturday 11th August at 8pm in The Boy’s School, Smock Alley Theatre, with matinees on Saturday 4th August and Saturday 11th August at 3pm. Ticket prices are €15 with concessions of €12.50, and a low price preview on 30th July with all tickets €10. Booking information is available at www.smockalley.com (01 – 6770014) and group rates are available.

For more information see https://www.facebook.com/events/413158028722025/

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