Sure, Look It, Fuck It

First Written for The Reviews Hub

Advertisements

Sure Look It, Fuck It – Project Arts Centre, Dublin

Writer: Clare Dunne

Director: Tom Creed

I’m afraid to admit I’m tired of roaming / But it feels a weird kinda good to be home”

When life doesn’t seem to be going anywhere and you find yourself living back in your childhood bedroom what can you do? Well, if you’re Missy, you draw on your eyebrows, get dressed up and go out and tackle the world. And if things don’t seem to be falling into place? Sure, look it, you can always say “Fuck it.”

Expectations weigh heavily on Missy (Clare Dunne). From the riotous, hugely successful stories people expect her to have come home with, to the constant fear of missing out that weaves through each day, she doesn’t quite know who she is or what she should be doing. Taking an alternative look at the life of an Irish emigrant, Sure Look It, Fuck It, is slightly unusual in that it looks at the experience of a returning emigrant. There is wealth of stories and theatre to be drawn out of looking at those who go away but find their way back again. Of those who, like Missy, spent six years in Brooklyn and come back with life experience but no money and a blank CV to find they have been priced out of Dublin and cannot barter their experience into paid employment or a new place to live.

The story is told in rhyme which adds bounce to each line and draws on the long history of Irish poetry to enhance the narrative and pull the audience into each step the character takes. However, Missy’s strong Dublin accent, not softened by her years away, combined with the rhyme scheme means that those unfamiliar with the accent have to concentrate hard throughout. Dunne has the audience involved in the off by asking them to finish off her old Dublin mantra by shouting out the last two words where appropriate.

Lighting designer Sarah Jane Shiels has great timing; ensuring the lights fill up the auditorium every time the audience shout out. Billowing smoke, high energy songs and a bright outfit choice round off the production. From the front rows, the lights being switched up felt a little much but may have had more impact for those sat further back. Dunne walks up and down the stage but has little to do with the back two thirds, making one wonder whether Sure Look It, Fuck It would do well in the future on a slightly smaller, more intimate stage.

This is the first full showing on Dunne’s work and it is clearly her own. The time spent developing Sure Look It, Fuck It was well spent; turning the story of an average woman into something that is both relatable and a tiny bit magical. Dunne positively fizzes and pops with energy from beginning to end. She gives each song, each rhyming couplet her all. Complemented by Ailbhe Dunne of Mongoose (last seen in Woman Undone on the same stage) on the guitar every time she sings Dunne takes off, filling the stage with her great voice and presence. With energy and an insight into what it is like to be lost in modern Ireland; it is impossible not to enjoy the vim and brio that she bought to the stage.

Image: Contributed

Woman Undone

Woman Undone – Project Arts Centre

Text and Lyrics: Feidlim Cannon, Gary Keegan, and Mary Coughlan

Original Music: Valgeir Sigurdsson

Director: Feidlim Cannon and Gary Keegan

Woman Undone premiered at Dublin’s Project Arts Centre and from the queue of people waiting to go in it was clear that this was one of the theatre seasons big draws. For someone unfamiliar with Mary Coughlan the reasons soon became clear.

Mary has lived quite a life. We are informed in the opening that she has paved the way for women, and been one of Ireland’s best-loved singers. But we are also told that she has lost much in the process. This is the story of how she became herself; how a young girl became unraveled; and it is the story of her relationship with her father. As her early life is re-imagined on stage the adult Mary is able to step in and comment. At times her anger and fury are palpable. At others, the fear, confusion, and sorrow pour from the stage. Woman Undone features alcoholism, addiction, abuse, and mental illness. Seen through the prism of Mary’s life these themes reflect many of the tropes of the Irish woman over the past six decades.

Four women dressed as men are first to take to the stage. They are the group Mongoose. Their musical additions complement the haunting score and each person takes on an active role in the re-imaging. Mary’s father, played by Molly O’Mahony, is smart and sure in his army uniform. However, when she is born he doesn’t know what to do with a daughter. He is awkward and uncomfortable around her. The choreography is very well done; showing how loving relationships can be full of pain. Dancer Erin O’Reilly was mesmerising and vital throughout. From the moment she crawled onto the stage as the infant Mary she takes ownership of the role, using movement to tell the often dark and harrowing story.

The set design complemented the action perfectly. A red car to the left of the stage; broken, full of music, steam and the possibility of life. Mary’s life froze when she was involved in a car accident and much of her later trauma comes back to moments spent trapped in that red car. It holds her in place until she is able to break free of the past. Audiovisuals and strobe lighting are used at points of high emotion to elevate the production.

When Mary sang she dominated the stage. The only slight niggle: there were a few moments of speech that showed that more work needs to be done on enunciation and projection to ensure everyone in the theatre space can hear. With such an important piece of theatre, it would be a shame for any of it to be missed.

Mary’s life has involved a lot of pain and hardship. Tonight this pain was turned into art. Emotional, moving and at times deeply sad, it took several minutes to get one’s breath back after the ending.

Image: Simone Rudolphi