Reviews

Adventures of a Music Nerd (Not Snob!)

Review by
Donald Mahoney

3 stars

As You Are Now So Once Were We

Review by
Kathy Clarke

3 stars

Berlin Love Tour

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Fintan Walsh

5 stars

City West Side Story

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Shirley Chance

3 stars

FAT

Review by
Fíona Ní Chinnéide

3 stars

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Review by
Kathy Clarke

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Heroin

Review by
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4 stars

I [heart] Alice [heart] I

Review by
Fíona Ní Chinnéide

4 stars

I Am A Man

Review by
Shirley Chance

3 stars

I Love Guns

Review by
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2 stars

Jerk

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Fintan Walsh

3 stars

Lipstick Service

Review by
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3 stars

Listowel Syndrome

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Fintan Walsh

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Little Iliad

Review by
Jennifer Lee

4 stars

Medea

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5 stars

My Husband is a Spaceman

Review by
Donald Mahoney

4 stars

My Life in Dresses

Review by
Susan Conley

2 stars

Neuropolis

Review by
Harry Browne

4 stars

Paper Boy & Friends

Review by
Donald Mahoney

3 stars

Soh

Review by
Kathy Clarke

4 stars

Strollinstown

Review by
Fíona Ní Chinnéide

3 stars

The Ballet Ruse

Review by
Fintan Walsh

4 stars

The Butcher Babes

Review by
Harvey O'Brien

1 star

The Cappuccino Culture

Review by
Jennifer Lee

2 stars

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Review by
Kathy Clarke

3 stars

The Truth of the Moon

Review by
Harry Browne

2 stars

Trilogy

Review by
Susan Conley

4 stars

We Are All in the Gutter

Review by
Jennifer Lee

3 stars

What the Folk!

Review by
Peter Crawley

4 stars

Wish I Were Here

Review by
Susan Conley

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World's End Lane

Review by
Helen Meany

4 stars
  • Review
  • Theatre

Produced by The Company in Project Arts Centre

As You Are Now So Once Were We

9-15 Sep; 9pm

Review by Kathy Clarke

Reviewed 12 September 2010

Absolut Fringe 2010

The Company's As You Are Now So Once Were We

We will all come to a particular moment in our lives. The split second where our collective universes align and we arrive at the realisation that all of us perceive the world differently. A sense of acceptance rushes in.

The Company, winners of last year’s Spirit of the Fringe Award, has been deadlocked in that moment for the last three weeks. It took them a long time to get there.

It all started, as it did for Joyce’s Leopold Bloom, in the morning. It’s Dublin 2010 and members of the ensemble begin their day. It’s this very day on which we watch their performance. Their worlds inevitably intersect. They eat together, make their way to the theatre and set up.

The only problem: their individual perceptions of these events are entirely different. Launching into a re-enactment of the day’s journey, the actors often disagree. They play with sequencing, feed one another lines, dictate each other’s actions and physical shape. Cardboard boxes are manipulated into an ever-changing landscape, morphing into streets and shops. Stories become muddled, disorganised and, ultimately, unrecognisable.

Using Ulysses as inspiration and their own lives as material, The Company’s creation is amusing, cynical and deeply frustrating. I’m just not sure what really happened.