The Belly Button Girl

bellybutton-001

The Belly Button Girl, The New Theatre

Writer and Performer: Tom Moran

Director and Producer: Romana Testasecca

The intriguingly titled The Belly Button Girl opens with our narrator (and sole performer) arriving at ‘Cousin Sharon’s’ 21st at a parochial hall in Dingle. Listless and not really enjoying the night, our narrator soon comes to life when he catches sight of the bar maid. Enchanted by her she quickly gains the moniker: The Belly Button Girl. Over the course of the weekend, through a series of accidents and misspoken phrases, they become close. The weekend closes as they wind up together in her bed in Portobello, Dublin. Our narrator is in love. Infatuated and contemplating their life together, we follow him over twelve months as their relationship grows and changes. Reminiscent of falling in love for the first time, The Belly Button Girl, is a story of love and confusion, edged with the hope of redemption.

A bench took centre stage, with beach paraphernalia decorating the front and back of the stage along with small items that are significant in the plot; an anchor, a small Buddha statue, pieces of driftwood. The set design, by Ursula McGinn, is delicate with each item carefully placed for maximum meaning. The soft blues and sandy pebbles recreate the feel of a small Dingle beach, where accidents and love stories can take place. This was complemented perfectly the excellently times lighting by Eoin Lennon. Brining this together was the direction of Romana Testasecca, who demonstrates an understanding of the power of space and structure, and whose flair for movement reverberated through the performance.

Moran is a consummate performer. He doesn’t falter for a second and all eyes stay on him over the course of the hour. He embodies the narrator with ease and switches from moments of light comedy to intense feeling. The narrator is twinkly and easy to like; blessed with an ability to always hope for the best, even when all of the signs are pointing the other way. Some of the plays highlights emerge with the introduction of several secondary characters, from the taxi driving ‘Sambuca lady’, to the ‘Massive Lad’ and the Dublin taxi driver who offers the narrator an insight into the way in which capturing life’s small pleasures can lead to contentment.

This is a lesson that the narrator doesn’t heed in time. He carries on like a piece of driftwood, washed up on stage, at the mercy of external forces. The key external force is, of course, The Belly Button Girl. While the narrator is like the boy who didn’t grow up (which is demonstrated by the perhaps too many counts of gross humour), she has her act together. Work, study, the future, and the intricacies of love are tackled by her with ease while he is still struggling with alarm calls and bra clasps. Although she is the focus of his desire, she remains elusive. In the future more could be done to fully flesh out her character, so the audience can see in her, and in their relationship, what the narrator does.

Full of finely drawn detail and sharp observations The Belly Button Girl is an entertaining, eccentric, bizarre, funny and human story.

Runs Until 18th May 2019.

 

 

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The Lonely Luchador

Writer and Director: Conor Duffy

Presented by Head Above Water Theatre Company

 

The Lonely Luchador is Head Above Water’s contribution to this year’s Scene and Heard Festival at Smock Alley Theatre. Given the chance to present a work in progress, the stage floor is open for risks, novelty and new ways of storytelling.

 

El Hombre, the worlds greatest wrestler, is in Mexico to compete for the Mexican Championship Wrestling Heavyweight Title. In spandex and blue face mask he is ready to rumble. Or is he? Perhaps the time come to retire? To live a gentle life in the countryside with his beautiful wife Anna Lucia (Nathalie Clément). However, his manager Dexter (Tom Doonan) and Anna Lucia  have other plans and insist on him taking on this last fight. Sure, all he has to do is take on the monster among men that is Mister Muerto. His black mask and deadliest finishing move in Combat Sports are legendary. Young, powerful and deadly Mister Muerto is El Hombre’s greatest challenge. As the two titans of wrestling come face to face, the plot unwinds in a series of twists, turns, surprises and daring feats of physical comedy that make The Lonely Luchador a festival hit.

 

With The Lonely Luchador Head Above Water have succeeded in their aim of bringing original theatre and physical comedy to the Dublin stage. 30 minutes of riotous fun The Lonely Luchador features sharp and precise physical comedy at its finest. Compere and referee Joe Clinton, as Earl, kicks off the performance by inviting the audience to join in with boos and cheers; to involve themselves in the play like a real wrestling audience would. This was set upon with Friday night joy by the audience; who took little persuading to cheer on the good guy. As Conor Duffy’s El Hombre and Gavan O’Connor Duffy’s Mister Muerto face off tightly choreographed physical comedy is on full display. Body slams, kicks to the face, fighting off stage in the midst of the audience, this action – packed scene is excellently coordinated to draw as much entertainment as possible from the raucous fight scene. It will turn even the disinterested into a wrestling fan for the night.

 

Writer, director and El Hombre Conor Duffy shines throughout; imbuing his character with just enough emotion to make the audience root for him. Clément, armed only with her sharp tongue and hand fan, manages to utilise props and accents to great effect. Rounding off the group is Tom Doonan as El Hombre’s manager: a Texan with a cowboy hat and heeled boots, he is a chancer on the make. The accents are hammy and the action fast and physical. Every opportunity is mined for laughs in this ensemble piece.

 

Fun from beginning to end The Lonely Luchador was a very enjoyable part of this years Scene and Heard Festival. It will be very interesting to see what Head Above Water are planning to do with this in the future. Whatever they decide, it is bound to be cracking good fun.

Arachnophilia

Arachnophilia, The New Theatre – Dublin

Writer: Aidan Fitzmaurice
Director: Sarah Bradley
Having friends or family over to stay can be a fraught experience at times as ones house is taken over by another persons habits and demands. It turns out this is never more so than when the guest is a spider, or a Chilean rose tarantula to be precise. Not only that but it is apparently a well known phenomena that if a spider comes to stay ones spider sense (sorry) will soon be tingling and the day will be defined by feeding times and ukulele playing. And that is how is is in Aidan Fitzmaurice’s quirky comedy drama Arachnophilia.
Conor and Alice have been together for five years and it is time to start asking the big questions. The only problem with this is that Conor thinks they are having a conversation about children. Alice however thinks they are considering separating. When facing this new stage in life how is Conor to prepare; to lay the groundwork for a possible new family? Like many people he thinks that a pet will be a good idea. Whereas most people would come home with a puppy or a cat, Conor comes home with a spider. When Alice wants to know how a spider could possibly prepare one for having children she finds a quirk in Conor’s personality that had never shown itself before.
Alone with his spider Conor descends into a strange kind of obsession that quickly takes over his life (and work life). What he doesn’t know is that his pet can hear and understand everything he says. Bellhop lives in his glass box with his exoskeleton for company. They (yes the exoskeleton can move and talk) are a web weaving, game playing couple that adapt quite well to the idea of being spiders trapped in a glass with only a human being for company. That is until the singing starts. And the terrible movies. And hang on … what’s with the wasp without a sting?
Hugely entertaining Arachnophilia somewhat defies description. Full of laughs and spider related puns it has a touch of the absurd but this only adds to the comedy. It would be great to have the chance to slip into the mind of the writer as he created the premise. On Saturday The New Theatre was packed, with people standing at the back of the theatre in order to see the show. The set was very well done with Conor’s home life and Bellhop’s split down the middle; as they constantly interact but never manage to communicate.
Arachnophilia is charming and unusual. Full of laughs but some heart too this was an enjoyable and one of a kind play.
P.S. For those terrified of spiders, like myself, there are no creepy crawlies to be afraid of (unless a talking exoskeleton debating class war is not your thing).
Cast: Caoimhe Mulcahy, Harry Butler, Ian Dunphy, Meg Healy and Tony Canwell.
Presented Octopussouptheatre.

Punt

punt the new theatreWriters: Pius McGrath and Tara Doolan

Actor: Pius McGrath

An Honest Arts Production

 

Punt has been receiving excellent reviews since its arrival in Dublin off the back of a successful run at the Limerick Fringe 2017, so it was with interest that on a sweltering Friday evening, theatre goers sought shelter in the cool cavern of The New Theatre.

One of Jack’s earliest memories is of placing a bet at Listowel races and, amazingly, winning. This special treat, shared with his uncle Jim turned out to be the beginning of a lifetime love affair for the small town boy. The excitement and electricity of a day at the races captured the six year old and this recreational, communal activity soon became something much more dangerous. By the time Jack is off to the study in the big city he is preoccupied with making it to high stakes poker games and using his winnings to buy his way into bigger and bigger games.

At the same time internet gambling takes off. How many of us have been tempted by the free cash offers to place a bet and watch the wheel spin? Gambling becomes something meaningful and powerful in Jack’s life as it takes the space of family and former aspirations. Alongside this Ireland is booming and cash is flowing freely.

McGraph uses his body throughout the tell the story. Throwing himself about the stage with abandon and slipping into his memories and other characters with ease. When McGraph takes on the persona his best friend the comedy abounds as his thick accent and unique turn of phrase propel the narrative forward. It takes skill and confidence to be able to pull off a one man play: to hold court, dominate the stage and keep viewers interested with only your body and words. McGraph wears his character lightly. With just a chair, table and black background on which the words “bet now” flash behind him McGraph is alone on the stage as Jack becomes more and more isolated.

Punt delves into the intergenerational nature of addiction and how the big business of gambling is all around us. When I moved to Dublin it was a surprise to see how many betting shops lined the streets. Although with hope being difficult to find in these economically tough times it is not surprising that the momentary burst of optimism that Jack finds in every race, in every win, manages to sustain him for so long.

Skilfully written by McGraph and Doolan Punt is careful to avoid moralising and instead tackles the big issues through the individual story. It is through Jack that we experience the rise and fall of an addict, and it is with feeling that we watch his decline; resisting the urge to shout at the stage every time he takes the wrong step. Backed up by well timed visuals and sound effects it is easy to be carried along on this journey from hope to despair. The ending is powerful and well done.

With Punt The New Theatre continues to champion new work by promising Irish theatre makers and proves again that some of the best nights of theatre are to be found behind a socialist bookshop in Temple Bar.

Runs until July 14th 2018.

Lyrics

Director: Romana Testasecca

Writer: Tom Moran

Him: Tom Moran

Her: Danielle Galligan

 

“One night. Two very different hearts. Dublin City Centre. An Open Mic has ended and a captivating dissection of a chance encounter has just begun.”

 

Outside it is cold and the rain keeps coming. The pavements are blocked by commuters hiding under shop awnings and the Liffey looks grey in the early evening light. Fleeing the uninspiring spring weather in newly reopened Theatre Upstairs an audience pile into the small theatre, looking for something to lighten the mood and warm the night.

Lyrics is set at the end of an Open Mic night in a Dublin pub. To the left sits a piano, a microphone in the middle and bottles that light up decorate the stage. Lighting Designer Shane Gill has done a great job: for each song the lights dim creating a cosy and intimate setting. The audience could almost be eavesdropping on the chance meeting taking place. The warm tones of the background helps to the enhance the idea that the theatre is a small pub, the audience with drinks in hand like the punters have turned up not exactly sure what to expect.

The play opens with Tom Moran playing the piano and singing a song to a former girlfriend. With his heart on his sleeve, and in his songs, Moran’s character is open to talking. He meets a mysterious singer who has never had a broken heart and is about to set off on a new adventure, played by Danielle Galligan. Taking the form of a dialogue with sharp staccato notes our two protagonists play around and work their way into each others thoughts and feelings. The early wit and humour draws laughter which keeps coming. The interlocking conversation avoids falling into cliché and suggests that director, Romana Testasecca, is growing in confidence with each new production. Slightly heightened the dialogue is well constructed and entertaining.

The couple meet because Galligan wanted to sing for the last time before moving to New York. A dying relative is behind her decision. Working through a recent heartbreak Moran’s song are hilarious with enough just enough honesty to make them more than comedic interludes. As the play progresses there are moments of sadness that emerge from these two broken hearts. At times tender and romantic Lyrics moves between sincerity and hilarity with relative ease. Taking ownership of the stage the characters begin to move together, their physical actions mirroring the movement of feelings as the night progresses.

A clever and touching chamber piece edged full of comedy and romance Lyrics proved to be just the tonic for the grey rainy Dublin evening.

Lyrics

Set and Costume Design: Ciara Murnane

Lighting Design: Shane Gill

Daddy Long Legs

Daddy Long Legs – Smock Alley Theatre, Dublin

Book: John Caird

Music and Lyrics: Paul Gordon

Director: Killian Collins

Performers: Eoin Cannon and Roisin Sullivan

 

Daddy Long Legs, presented by Boulevard Productions Ireland, is Smock Alley’s inaugural musical.

daddy long legs

Daddy Long Legs is a simple but sweet story. Opening in the John Grier Home for Orphans the audience is introduced to Jerusha Abbott, played by Roisin Sullivan. It is 1908 in New England, USA, and she is set for a day of work as the “oldest orphan in the John Grier home” she knows no other life and is alone in the world. This is until a wonderful moment of charitable intervention. One of the home’s trustees, played by Eoin Cannon, has enjoyed her essays and stories and is going to fund her through college with the intention that she will become a professional writer. Although determined to remain anonymous her benefactor does have one condition: Jerusha is to write to him once a month. She is not to say thank you and he will not respond to these letters.

Embracing her new life with gusto and her unique wit and personality Jerusha writes lovingly each month. She gives her benefactor a nick name: Daddy Long Legs. He is surprised to be touched by her letters, which are full of life, curiosity and a desire to love. Soon Jerusha befriends her fellow students and is invited to join them. She meets the worldly and interesting Jervis Pendleton who introduces her to books, travel and adventure. Over the four years of her study Jerusha grows and begins to discover herself and the benefactor learns about her – and himself – through her letters. Their relationship is touching and surprising. One of the great mysteries is will the two ever meet?

It takes skill to bring a musical to life and make it so believable. Director Killian Collins does very well at bringing out the humour throughout. There are some brilliant comedic moments that make the most of the props and staging to draw laughter from the audience. The set is well designed; functional and attractive and Karl Breen on guitar and Gerald Peregrine on cello make a great accompaniment to the action on stage. It goes without saying that both Cannon and Sullivan are excellent performers with voices that reach the back rows with ease and clarity.

For both the musical lover and the novice this is a must watch. It was impossible not to smile at the end and the audience rose to their feet to give a standing ovation. The show has so far been immensely popular with critics and audiences so one hopes that it will continue to perform around Ireland in the coming months. If the production does come back to Dublin I will be first in line to buy a ticket!

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Smock Alley Scene and Heard Festival (SASH) 2018 – Dublin
Written & Performed by Karen Killen

Directed by Romana Testasecca

Associate Producer Vincent Brightling
Sarah is 19. She has a camera, a laptop and a ukulele. She wants to take on the world, via YouTube. But is she ready for #CyberSpace?!

Karen Killen wrote and stars in this one woman show. Performed in the Boys School Stage at Dublin’s Smock Alley the architecture makes the perfect backdrop to the play. Orange lights shaped like flowers hang above our protagonist, casting a soft glow. A large TV sits in an empty window, the screen facing the rows of seats. Underneath this sits Sarah. Armed with fresh makeup, a ukulele and a camera she is all set to take on cyberspace.

She is the perfect vlogger. Sharing details of her life freely and singing to her hidden audience. The play opens with Sarah answering fan questions. She is loud, bright and friendly. Her favourite things are YouTube her followers. A slight slip of the tongue however gives a hint of the loneliness that lies beneath. “Do you have a boyfriend? No, I mean yes!”

It is from here that we start to see deeper than the artfully staged videos. When she is not on camera her life is very different. Takeaway food, internet trolls, comfy pyjamas and no real human interaction. The sound of Skype calls and phones ringing interrupt her work. These are always one way conversations as Sarah refuses to let loved ones reach her. By keeping love at arm’s length, she can keep up the pretence of a perfect life for her subscribers.

Click 2 Subscribe is funny from the start to the finish thanks to Testasecca’s capable  direction. Props and clothing are used throughout to further the narrative and create opportunities for humour in this witty, insightful fast paced play.

SASH is a unique theatre event that gives writers, actors and directors the opportunity to present plays in development. This is a vitally important for theatre makers. It is also great for theatre goers who are given the opportunity to see a wide variety of performances in different stages of development. One moment you can be watching a deeply moving family drama, the next a laugh a minute collection of sketches. Last year’s entry from Rosebud Theatre was the poignant and politically timely SYRIUS, which blended movement and powerful imagery to tell the story of a woman forced to flee the horror engulfing Syria. Following last years festival the production has toured Europe to critical acclaim. Hopefully Rosebud Theatre will be able to use the experience and feedback from SASH 2018 to follow and improve on last years success with Click 2 Subscribe.