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

The Best Place for Love

The Best Place for Love – The New Theatre, Dublin

Writer: Paul Kennedy

Director: Paul Kennedy

Reviewer: Laura Marriott

To be an artist requires a certain type of self – belief and determination in order to keep getting back up after each rejection. As one continues along the same path those you started out with either fall away into different careers, searching for the stability offered by a steady pay check. Or, they begin to fly past you. Taking on lead roles, having their work published or displayed in galleries. When living in a world of near constant rejection how does one maintain the self – motivation needed to keep going?

This central difficulty of being an artist is explored in Paul Kennedy’s new play The Best Place for Love which opened tonight at Dublin’s The New Theatre to a sold out crowd. Anna, played by Sarah Allen Clarke, and Mick, played by Steve Gunn, are living together. They have become so comfortable, or so used to each other, that at times they are abrasive, on the verge of an explosive argument, before falling into each other’s arms. They recognise the same artistic struggle in each other. Anna has returned to the stage after a break of three years to face the challenge of committing herself to each character fully, before waiting to see if she has gotten the part. There is a certain powerlessness in her situation. This is something she shares with artist Mick. It is when he is holding out for a buyer, someone to inject some cash and much needed confidence into his endeavours that he meets Frank.

Frank, played by Pat McGrath, is a hurricane of a man. Big, loud and abrasive with a voice that booms, he takes up all the space around him. He is so certain of his intuition that he follows it no matter what. By doing this he has become something of a financial genius but has left havoc in his wake. Almost swallowed up by the storm around him is his wife Angela. Played by Susan Bracken, her belated entrance changes the tone and the audience are invited behind the scenes, illuminating the histories and beliefs that have bought the characters to where they now find themselves. Her final speech is impressive and energising.

The staging is kept relatively simple and unobtrusive. Spot lighting is used throughout to highlight key moments. The cast work well together, the tension and friendliness between them reaching into the audience. There are occasional moments where the actors seem to be speaking monologues directly to the audience, slightly apart from the others on stage. McGrath deserves special mention. His portrayal of Frank is a standout moment. McGrath’s Frank is recognisable and embodies much of the rise and fall of Ireland over the past decade.

The Best Place for Love is an engaging and surprising piece of theatre.

Runs until 26 November | Image: Ste Murray.

Review Overview

The Reviews Hub Score: 3.5*

Key Word: Unexpected