Split Ends, Bewley’s Café Theatre
Performed and Conceived by Lauren Larkin
Writer: Lauren Larking and Aisling Byrne
Director: Aisling Byrne
Bewley’s has been turned into an upmarket hair salon, and in place, early as always, is Amy. She is ready to take on the day and confirm her position as providing the best curly blow dry in Dublin. Amy is very much someone who gets what she wants.
Amy, played by Lauren Larkin, is on stage as the audience arrives. She knows you have to work hard and wait for what you want. All good things come to those who wait. Don’t they? This is what Amy tells herself. Well, its what Oprah and facebook tell her when she needs them too. However, how long can someone keep waiting patiently with no deadline in sight? She has three regular visitors who are all good company with their own stories to tell. From the older woman who keeps talking to hide what is inside, to the harried career woman with too many plates to juggle, to the young girl who is preparing for her communion like it is her wedding day. The salon is where they find a few moments for themselves and over repeat visits Amy gets to know more about each one as they confide in her. As Larking slips in and out of each character with ease, their secrets start to unravel and in turn we start to learn more about the Amy that the outside world doesn’t get to see.
The title fits the play perfectly. Split ends develop after hair experiences weathering and damage. When left too long the split begins to lengthen. This causes irreversible damage and the split has to be cut off. Can Amy refashion her life into something new, or will the split ends continue to damage and break?
This was not the first outing for Larkin’s Split Ends. It was developed at FRINGE LAB and first performed as a part of the Dublin Fringe Festival 2018. It is always a pleasure to see a play develop and make use of opportunities like Show in a Bag; to explore what can be done with the script and to fully develop an idea.
The set has been very well designed. Larkin is always busy, folding towels, flicking through magazines and on the phone. One suspects that a local salon was raided for the day to provide the necessary props. This was a great touch that elevated Split Ends and added a note of authenticity to the production. Excellent timing is demonstrated throughout, with lighting designer Colm Maher working in sync with the action on the stage. The final emotional scene was good but could have done with a little more oomph. Several days after seeing Split Ends the impact had faded more than it should have done considering the climax cuts close and is slightly uncomfortable to watch for those who have recently shared the same experiences. However this speaks to the power of the central truth at the heart of Split Ends and the skilful way in which Larkin and Byrne have told this story.