Reviews

Arcadia by Tom Stoppard

Reviewed by Sara Keating on 25 May 2010 25 May - 10 July, 2010 in The Gate Theatre

Et in Arcadia Ego: Even in Arcadia, there I am. The philosophical and aesthetic mantra that gives Tom Stoppard’s finest play its title is also its guiding principle. Even in this small stage paradise the author’s own ghost is everywhere, as the diametrical arguments that his characters pose...

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Worlds Apart, Same Difference by Michael Collins

Reviewed by Derek West on 25 May 2010 24 - 29 May, 2010 in Project Cube

Michael Collins sets out to articulate the experience of the Irish Traveller from the inside and it is appropriate that he has hit upon a dramatic framework that strongly echoes that of the fit-up show. While sitting in the Cube, I was transported to a field in Donegal, more than twenty years ago, when...

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Mickey and Lionel by Vicky Ireland

Reviewed by Pádraic Whyte on 22 May 2010 22 - 24 May, 2010 in Baby Grand, Grand Opera House

Dealing with the trials of childhood, Mickey and Lionel is based on Aesop’s fable 'The Mouse and the Lion', written down by Valerius Babrius in the second century A.D. This tale of the strength and importance of the small and the seemingly weak is simple: captured by the lion, the mouse is set...

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Bombshells by Joanna Murray-Smith

Reviewed by Rachel Andrews on 15 May 2010 22 January - 14 August 2010; on tour in Firkin Crane, Cork

The Australian playwright Joanna Murray-Smith has built a successful career examining the nuances of contemporary life, particularly those surrounding relationships, love and the struggle to communicate. Her work, replete with big themes, transcends borders: it has made the leap from Australia to the...

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Manny Quinn: The Musical by Robert Lanigan

Reviewed by Fintan Walsh on 13 May 2010 10 May – 15 May, 2010 in Break for the Border, Dublin 2

Stage a musical in a pub – Break for the Border, at that – and you immediately blur your audiences' expectations. It’s easier to ‘see things differently,’ as the Absolut slogan commands, with a drink at hand. Stage a musical about Irish Eurovision entries in the weeks leading...

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Slaughterhouse Swan by Elizabeth Moynihan

Reviewed by Fintan Walsh on 12 May 2010 9-15 May, 2010 in The New Theatre

Transvestitism, lesbianism, veganism, sexual misconduct, fililal abscondment and marital breakdown: when it comes to broaching hot button issues, you can’t accuse writer and director Elizabeth Moynihan of being shy. However, in her hour long piece for the Absolut Gay Theatre Festival Dublin, there’s...

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Billy Redden by Alan Flanagan

Reviewed by Fintan Walsh on 10 May 2010 10 - 15 May, 2010 in The Complex Two, Smithfield Square

Two minutes into this performance, as young Billy Redden (Kelly) talks to himself on stage, a man suddenly emerges from the toilet adjacent to the core action, strides across the space, and leaves through the door we just entered. For a few awkward moments, there’s still a chance that this is part...

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Scarborough by Fiona Evans

Reviewed by Lisa Fitzpatrick on 09 May 2010 29 April – 10 May, 2010 in Ramada Encore, Belfast as part of the Cathdral Quarter Arts Festival

Scarborough by Fiona Evans is a two act play set in a hotel room, so Prime Cut have taken it out of the theatre and put it into real hotel rooms, in the latest of a number of performances by various theatre companies that experiment with staging outside of theatre spaces. The audience for this show gather...

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The Marriage of Figaro by W.A. Mozart

Reviewed by John White on 08 May 2010 8 May - 2 June, 2010; on tour. in Samuel Beckett Theatre (on tour)

The Marriage of Figaro is possibly one of the most re-imagined operas of all time – having been done in every conceivable period, style, and setting. In this OTC production, we are in the swinging sixties. Designer Adrian Linford has been up and down Carnaby Street grabbing floral-patterned shirts,...

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A Night With George by Brenda Murphy

Reviewed by Pádraic Whyte on 08 May 2010 5 - 8 May, 2010; on tour. in Waterfront Hall Studio

From the opening of the production, there is a definite sense that this is a narrative in the form of Shirley Valentine, but from a West Belfast perspective. As the audience find their seats, they are greeted by tunes from Cyndi Lauper and Dolly Parton. It’s evident that this play is either about...

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