Continuity

Finborough Theatre

Writer: Gerry Moynihan

Actor: Paul Kennedy

Finborough Theatre has offered up an absolute gem of a play in Continuity. It tells the story of Pádraig in a one man show that takes us though a year in his life. Beginning on St Patrick’s Day in a pub in Derry, the drink is flowing and the mood is high when Pádraig is called on to sing. He picks a song that talks about a past when Ireland was united and had its own laws. His voice is masculine and wistful as it travels across the floor to a young woman from Barcelona. Working in Derry for a year at the local University, her name is Jorja, and he is instantly smitten. His two friends – comrades – though, have different plans for the night. They are part of the continuity IRA. Holding up ‘the cause’ no matter how many people have moved in a new direction. Alongside them is Pádraig, and he is one of the best. A bomb maker with a father who is lionised in the movement, he has pedigree and dedication. As a believer he will take whatever risks he deems necessary in the pursuit of a united Ireland. Continuity poses the question of whether they will break the cycle of violence and confrontation, or continue to be a part of it.

There is a very powerful scene about twenty minutes in. It opens a window into the complicated relationship between the three friends: Pádraig, Joe and Eamon, and the conflicts in their beliefs and methodology. The three of them are bound by family, history, local community and friendship. They have their father’s histories within them, marking them like a shadow. When it is time to ‘discipline’ a 15 year old idiot drug dealer, Pádraig no longer feels this is the right path forward. Joe however is enjoying himself. As he takes thebat over and over again to the boy’s leg, Pádraig argues they should be focusing on the state and not on petty acts of revenge and violence. With a moment of clarity, he sees that Joe likes things just the way there are. He enjoys the power he wields, the role he plays, being the man of law and order patrolling the community; getting away with whatever he deems necessary with Eamon always by his side. Something has changed and Pádraig feels conflicted. Is love turning him soft and making him lose sight of the cause? Why is he no longer enjoying this like Joe is? To Joe and Eamon, he is looking increasingly compromised. This is heightened by the fact that his sister has recently joined the PSNI. Unlike her brother she believes in the peace process and has decided to take a different path to the rest of her family.

After this the plot speeds up and feels like a train heading unrelentingly to its final destination, despite the twists and turns on the way. The women in Pádraig’s life tangle him up and trigger a test of loyalty. ‘The “noble” cause’ is bound up in family feuds, small town conflicts, sins and absolution. When Pádraig has the chance to go to Barcelona with Jorja, he makes a decision that will have explosive results.

Paul Kennedy is exceptional as Pádraig. He commands the stage and the audience’s attention at all times. Kennedy fills this role so completely that one simply cannot imagine someone else in the role. Moynihan’s script is tightly wound, not an action out of place, and delivers a heart thumping finale that reverberates long after the close of the play. Within the first few minutes the audience have a good grip of the character thanks to the skilful writing which is on full display. There are moments that are humorous, tender, and moments that feel like they will break under too much pressure. Continuity is delivered with verve, force and nuance. The recording isn’t perfect and I recommend watching on the largest screen you have. From what I could see lighting and sound were used to great effect, ratcheting up tension at appropriate moments and making the stage feel as if it is palpitating in time with Pádraig’s racing heartbeat. The discussion of Irish nationalism, republicanism and re-unification, is perhaps more timely now that when it was first performed in 2017. Continuity is one of the finest plays to come out of the recent uploading of theatre online and hopefully its re-release will take it to a larger audience.

Definitely one not to be missed.

Director: Shane Dempsey
Design: May Jennifer Davies
Lighting: Steven Owen
Sound: Anna Clock
Movement: Steffany George
Photograph: Gary Wolf