Posts Tagged ‘Ciaran Hinds’

Review – The Night Alive – Donmar Warehouse

July 11, 2013

I do two basic sorts of reviews on this blog. One is a production focused review, for plays I’ve seen before or dance/orchestral performances; the other is a text-focused review. The second is for new plays, or plays I’ve never seen before. I very much like going into a play knowing as little about it as possible (other than “it’s good”). Since I didn’t study theater after high school this isn’t too hard (even for some things Shakespeare wrote), but I also actively avoid reading scripts of plays I haven’t seen. Sure, I want to see everything Pinter and Ibsen (and, I think, Strindberg) have written; but I want to SEE them, live, on stage, not try to imagine them as I turn pages. Ditto watching them on the small or large screen: I want to watch theater IN the theater.

And I want to see new plays – lots of new plays. So I was thrilled when I managed to score 10 quid front row tickets to the Donmar’s sold-out production of The Night Alive, Conor McPherson’s latest show. I’ve had mixed experiences at his plays; The Veil had me out the door at the interval, whereas The Weir had me hanging on every word and gaping at the brilliant character creation. Kinda hard to believe it was the same guy, huh? But I hoped that the genius of the earlier work would prove the rule, and the flop of the historical ghost story would be the “exception.”

I found myself a bit baffled as to the “where and when” of this play – the setting was a shabby bed sit, with papers and trash strewn everywhere and two single beds in the room – the bathroom a clapped together room tucked in the back with more crap on top of it. Based on the presence of energy drink cans and bottled water, I figured it could have been set at any time from the early 2000s to the present (although I was told that the coin operated electricity meter had been completely phased out, so perhaps this was some ten years back – I was short on cash so no program or cast list to illuminate me).

As it stands, the play reconfirmed for me McPherson’s mastery of natural speech patterns as well as his ability to create fully realized people out of text on a page. (Doubtlessly the actors have to take some credit for this too, but it’s the author who can make me believe that the person speaking on stage existed as a child.) But the plot was … elliptical (and I think the reason why the two women behind me in the ladies’ loo queue said they hated the play). It was very much “moving forward in time,” but in some ways it seems that nothing happened or was resolved … none of the characters changed much (other than falling in love).

But … I loved it. Life doesn’t always make sense of have a plot, but this play was more than just “a few scenes from the life of a tightfisted Irish scalawag” – it gave me the same elated feeling at the end as the brilliant Constellations did, and for the same reason: its message was, “In this short life that we live, all we can hope for is to make a human connection. This is rare and precious: treasure it.” I walked out feeling like Ciarán Hinds (as the scalawag) and Caoilfhionn Dunne (as Amy) had given us a tremendous gift. What a lovely, lovely play it was.

(This review is for a performance that took place on Thursday, July 4th, 2013. It continues through July 27th. Warning: contains graphic violence that I found quite disturbing.)


Review – Juno and the Paycock – National Theatre

November 16, 2011

Although my trip to the Lyttleton to see Juno and the Paycock was for a preview performance (tonight is the official opening at the National), I’d like to note that there’s no reason not to judge it fully as it stood last night – the production of this 1924 play is a transfer (and coproduction) with the Abbey in Dublin (which has already been reviewed).

Thursday, September 8th, 2011. In a frenzy of purchasing I attack the National Theater website with the aim of securing, at the lowest possible price, tickets to all of the shows in the fall season – all of the ones I think I will enjoy, that is. I read the description of Juno and the Paycock: “One of the great plays of the twentieth century, Sean O’Casey’s Juno and the Paycock offers a devastating portrait of wasted potential in a Dublin torn apart by the chaos of the Irish Civil War, 1922.” Oh, well, okay! A great play, something to teach me about Irish history, and the pain of wasted potential – sounds like another August: Osage County or even Cat on a Hot Tin Roof! I happily dropped two tickets in my basket (balcony at £20, not as cheap as I was hoping) and went on to the rest of the season.

So. Intense struggling characters; a tightly knit family with their long connections (and resentments) carefully revealed through dialogue; some specifics about living conditions among the poor in the early twenties; a decent leavening of
Irish history. This is what I hoped for.

Horrible, comic, painful overacting (particularly from Ciaran Hinds and Risteard Cooper, who seemed to be in One Man Two Guv’nors); conversations that killed time but went nowhere; lines shouted from the stage; history as window dressing; characters cut from cardboard and moving like paper dolls on a set that looked like a rotting mansion. And worst of all, the play turned “the poor Irish” into caricatures: drunk, lazy, supersitious, ignorant, everything I would criticize as a ridiculous stereotype in a new show. I could feel no sympathy for any of them, because they were not sympathetic; but I felt genuine anger at the playwright, who, I felt, had not made an honest play.

This show was for me like being stuck at two of my least favorite shows of the last thirteen months, Men Shall Weep and Chicken Soup with Barley, as I frequently could not understand what was being said on stage (my American-ness working against me) and had a real dislike of the core characters. But Men Shall Weep at least seemed realistic (and sympathetic, if schmaltzy) and Chicken Soup incorporated the history of London communism to an extent that I became interested enough to do further research. And both of them had characters drawn from the fabric of reality, not from the funny pages, with relationships between them that held together after the curtain dropped. Juno and the Paycock, though – I am convinced that it is fatally flawed as a work on the 21st century stage; and the production could not convince me it had any merit at all.

At the interval (ninety minutes in and at least thirty minutes after I started wondering when we were to be set free), I consulted my companions about our courses of acction. Only one of us wished to stay and it was only so that he could finish his review by saying that he’d actually seen it all; but without me by his side, he didn’t feel he could stay awake. I was not willing to stay just so I could say that I had. I hated it. I wanted to leave the theater with a violent passion. We compromised by looking up the ending on Wikipedia, decided we didn’t really care how it played out, then all melted into the night.

(This review is for a performance that took place on Tuesday, November 8th, 2011. It continues through February 26th, 2012. If you feel eager to see this play, I advise patience as you are very likely to be able to get discounted tickets later in the run.)