Kracked

First Written for The Reviews Hub

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Kracked – Smock Alley Theatre, Dublin
Writer: Aibhe Cowley

Director: Eadaoin Barrett

Uncle Tony overdosed last month and has left the future of the family business resting on Sharon’s shoulders. Will KitKats and cocaine be her saving grace or will a frantic ex, fifty debts and a recent death in the family cause her to finally crack? Sharon’s story could be pitch black; certainly, she hasn’t had the best of luck in her young life, but the love and security she finds with her Uncle Tony brings a lightness to her story. Told in her broad accent and comedic manner this a touching portrayal of familial love.

Kracked first appeared on Irish stages as part of the Smock Alley Scene and Heard Festival 2018 as a half hour play in development. Now developed into a full production, Kracked is one of the many plays that have benefited from this chance to evolve.

Music is the major driving force of this production. Sharon and Tony, not great at expressing emotions, connect through song. There are several moments in the play as it progresses towards the end when songs propel the narrative forward and give the audience an insight into our protagonist.

Set design is kept to a minimum; with a pink yoga ball and yellow rubber ducks being free to capture the eye with their bright colours and quirkiness against the darker backdrop of the Boy’s School stage. Lighting director Bucky Emmerling’s timing is excellent; keeping the focus on Cowley at all times. With further development, the scenes that swell with emotion and sadness could be sharpened in juxtaposition to the frequent laughs and humour that runs through Cowley’s script.

It is clear that Cowley has lived with her character since her creation. She seems perfectly at home inhabiting her cadence and mannerisms. Kracked is a one-woman show and Cowley pulls off the difficult task of keeping the audience listening with aplomb. Several moments of audience interaction worked very well and gave Cowley’s Sharon the chance to show off her friendly and bashful side – along with her knowledge of horses and KitKats!

However, the title Kracked isn’t quite apt. The character of Sharon is so well drawn and easy to like that the audience are pulled into her both her humour and her grief. Sharon is too fully recognisable (to Cowley’s credit as writer and performer) to be seen as cracking up.

Soon to be performed at The Mill Theatre, there should be plenty more time for Kracked to continue blossoming.

Image: Contributed

Split Ends

Split Ends, Bewley’s Café Theatre

Split_Ends_Square_960_960_s_c1Performed 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.