Arachnophilia, The New Theatre – Dublin
Writers: 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.
First Written for The Reviews Hub
Home – The New Theatre, Dublin
Writer: Megan O’Malley
Director: Fiona Frawley
Who is innocent and who is guilty? Only you can decide.
Home is the sort of play that when you think you have everything figured out it turns around and surprises you. Showing at Dublin’s The New Theatre Home also introduces the talent of writer (and performer) Megan O’Malley.
Tackling head on the sexual politics of a group of college students Home starts out as a spiky comedy. Each actor gets to show off his or her comedic ability as the audience peer in on their private conversations and meetups. It doesn’t take long though before one realises that there is so much more going on. Mike and Anna are on a Tinder date. Flowers, nervous one-liners and bad drinking games ensue. If only Anna’s sister Emily were not sat in between them glowering at Mike every chance she gets. Several hours later, drunk and tired, the trio make it home. The events of that night will unravel in police statements and court testimonies. The next morning Anna cannot remember anything that happened but when she discovers that she is pregnant one bad night is about to turn into a lifetime of regret.
There are no obvious winners or losers in this sharp political commentary that couldn’t be timelier with the ever-growing conversation around the Repeal the Eighth movement. Home avoids falling into didacticism and instead shows the murky grey areas between the laws provided by the constitution and real everyday lives. The early moments of humour fall to the wayside as the audience are drawn into the drama unfolding on stage. The play’s resolution is unique and deftly conducted. To avoid giving spoilers one cannot go into further detail except to say whatever you think will happen and whatever your political beliefs you will be surprised and entertained. The sadness that spikes the final moments are poignant are heart breaking. The uncluttered staging allows the words to speak for themselves in this memorable play from the Handy Baker Theatre Company.
Runs until 3 February 2018 | Image: Contributed
First Written for The Reviews Hub
SAVE + QUIT – The New Theatre, Dublin
Writer: Sophia Leuner
Director: Billie De Buitlear
Two Londoners find themselves having to decide whether it is time to move on. Two former best friends in Dublin look to see whether tragedy can bring them together once more. Save + Quit are two short plays connected by themes of moving on; of closing one chapter in life and deciding whether to walk towards another.
This is writer Sophia Leuner’s first work for the stage. It shows great ability and command of language. Comedy rubs up against pathos throughout. Class and the social divides that define a city are investigated through each character and their relationships with others. The audience laughed at the Tallaght / Dalkey romance and the city being separated by more than constant road works. The regional jokes played well in the second Dublin based half which also had some great moments of storytelling.
The young cast do particularly well at mimicking and impersonating others, switching between characters with just a change of stance. Save + Quit portrays both London and Dublin as cold and at times outright hostile places to live with the only chance for salvation being found in friendship. The isolation of urban life is picked apart as Joe and Steph struggle to manage as they move fully into their adult lives and as Cara and Dylan struggle to reconnect.
The stage is occupied only by two chairs with spotlights on each character as they speak. The hour fliess by as the face paced witty dialogue keeps the audience interested. Save + Quit is a character driven story that is full of wisdom as it unwinds. Adult growing pains are portrayed delicately, casually and with verve.
Save + Quit is a study of how we react when life throws up obstacles and changes. It is full of humour and with enough sadness to make a real impact. Worth a watch.
Runs until 20 January 2018 | Image: Contributed
The Restoration of Hope – The New Theatre, Dublin
Writer: Philip St John
Director: Matthew Ralli
The Restoration of Hope is The New Theatre’s pre – Christmas offering for 2017 and it is an interesting choice. It has one of the most unusual plot lines to grace the stage this year.
The action begins in an office on the quays. A man walks in singing a medley of Christmas songs and he sets about decorating his office with tinsel. The festive cheer doesn’t last however when out of the blue a drowning woman appears. Standing inside a red triangle is the newly deceased Hope Whyte, played by Jody O’Neill. In shock it takes her a few moments to realise that she is no longer on Dun Laoghaire pier, and is instead face to face with a strange man wielding a Bounty bar.
Partly inspired by the Faust legend Hope is given the chance to be restored to life, for a limited period of time, but only if she commits to a blood soaked contract. Working with her mentor Larry McGraph, played by Nick Devlin, Hope has to decide what another shot at life is worth and whether she is the sort of person who can take that step. Added in to the mix is demon Luca, played by Shane O’Regan, who is out to capture as many souls as he can. Hope is not a normal victim; she is a single minded business woman who is prepared to negotiate even this devilish pact.
There are moments of humour throughout and the play alludes to the larger issues of the day at different moments. This individual story offers an insight into the wider issues of power, authority and revenge. At times The Restoration of Hope is dark and wicked, with it’s tongue firmly in cheek. Much of the play is a two hander between Devlin and O’Neill who bounce off each other and expose each others fears and weaknesses.
Carl Kennedy’s sound design works very well throughout. The audience enter the theatre to the sound of a Christmas theme with a dark undercurrent twinkling in the background. Lights and careful staging are used at times to create atmosphere and momentum. A driving scene is a particular pleasure. Similarly, although sparse there is a good use of props throughout (look out for the sword!).
This is the second part in The Eerie Trilogy by playwright Philip St John but it is not necessary to have seen The Temptress as The Restoration of Hope stands alone excellently. This supernatural tale is also a great anecdote to the sentimentality that predominates at this time of year.
Runs Until 16th December 2017.
Co – Produced by Speckintime and High Seas Productionss, in association with Mermaid Arts Centre and The New Theatre
First Written for The Reviews Hub
Writer: Ciara Elizabeth Smyth
Director: Jeda de Bri
The Sad Strippers Theatre group were last seen at Smock Alley’s Scene and Heard Festival, where their production of Pacemaker was the funniest 30 minutes this reviewer has ever seen on stage. All Honey is a longer production at an hour long and is helping to close the Dublin Fringe Festival 2017.
Ru and Luke are throwing a house warming party (well, it’s actually an apartment warming party as others are quick to point out). It is clear from the off that the evening is not going to be a smooth one. Ru’s best friend Mae thinks her boyfriend is cheating on her and plans to confront him that night. Soon however she is persuaded otherwise. This proves to be unfortunate. The hilarious and somewhat awful Val has managed to turn up without being invited. It is not long before she has found the gin and fireworks are about to explode. Add into this mix oblivious and obnoxious Barry for a night of horror and hilarity. All of the action takes place in a brightly decorated box room where people pop in and out for secret conversations and confrontations.
The writing is quick witted, smart and funny. The hour flows by as the audience are drawn into the complex love lives unfolding before them. All Honey is surprising and involving; there is no knowing what will come next. What is assured is that this is a brilliant hour of comedy from five actors who work excellently together to delivery this one of a kind script.
Runs until 23 September 2017 | Image: Contributed
First Written for The Reviews Hub
Writer: Michael Marshall
Director: Laura Bowler
Reviewer: Laura Marriott
A well lived in kitchen, with children’s toys and fairy lights under the table dominates the stage with a door either side; one leading to an unseen upstairs, another leading outside. This door is always closed. Soon two brothers enter the stage. Jacob is seventeen and tense. Lucas is ten, in blue pyjamas, red socks and smiling. It takes a moment to realise what is missing from the domestic scene. The brothers are alone. Their mother has been gone for years. Their father, a drinker left one night. They are waiting for him to return, which helps to explain Jacob’s tension. As the older of the two he has taken on the role of parent. He is helped by his friend Terry who is loud, brash and sweary. She also loves Jacob and Lucas and tries in her own way to help. Her character is a little exaggerated but she brings warmth and comedy to the play.
The audience enter the theatre to the sound of 90s music: The Spice Girls, Madonna, The Backstreet Boys. Although not everyone would admit to it there was a lot of singing along and heads bobbing. Music is an important part of this production. Lucas plays and bonds with Jacob and Terry through music. They sing out loud, dance, jump about the kitchen with abandon. It is fun and beautiful. Music and recordings also plays a pivotal role in relation to their parents. The support team have done fine work on the sound, costumes and setting which complements the actors and narrative movement at all times.
Jacob has struggled to keep their parent’s absence a secret. He works, gets Lucas to school and does his best to be the adult. However, when their mother turns up again how long will they be able to carry on? The relationship between Jacob, played by Stephen O’Leary, and Lucas, played by Finian Duff Lennon, is excellently portrayed and is the highlight of the play. As their life together is forced to adapt to change the audience waits to see whether they will be able to hold on to each other. Despite everything that Jacob has done Lucas still holds out hope of one day having a family. He likes fairy tales with happy endings and more than anything would love his own. There are moments in the play that are touching and heart breaking; that provoked tears. To be able to make an audience both laugh and cry is quite a skill.
The New Theatre champions new writing and has given this play the chance to develop and respond to criticism. Happy Birthday Jacob seems to have benefitted massively from this experience and the team have turned out a well-formed theatre experience. There are few other places that give writers and theatre makers the chance to premiere new work. Plays such as this are a testament to the theatres ethos and show why it is important for new writers to be nurtured and given the chance to put their ideas of the stage. This is a very strong debut from playwright Michael Marshall.