Reviews

Weaving the Cry, based on Riders to the Sea by J.M. Synge

Reviewed by Patrick Brennan on 31 March 2010 22 March - 3 April, 2010 in The Back Loft @ La Catedral Studios

Nervousystem make all the right noises. They talk a lot about the need to experiment. They refreshingly extrapolate on the laboratorial constituents of drama and the need for performance research as well as the desire to explore their own ongoing interrogation of the theatre space alongside and connected...

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Coconut Raft by Bryan Quinn, Bobby McGlynn and Seán Carpio

Reviewed by Fintan Walsh on 27 March 2010 23 March - 3 April, 2010 in Project Arts Centre

Based on an idea by Alice Bourke, Coconut Raft precariously floats on two plot lines. The first relates to a jailbreak in 1930s Ireland by three convicts, and the second pertains to a regaling of that event, seemingly in 1950s America, through music by Gustavo des Balera and his troupe. Some of these...

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The Tinker's Curse by Michael Harding

Reviewed by Harvey O'Brien on 23 March 2010 15 March - 3 April, 2010 in Bewley’s Café Theatre

Michael Harding’s adaptation of his widely-praised 2007 three-hander into a monologue may come with the qualifying approvals of being “a result of ongoing collaboration with members of the Travelling community”, as the flyer tells us, but is at its best as a core experience of supremely...

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The Sign of the Whale by Jimmy McAleavey

Reviewed by Lisa Fitzpatrick on 20 March 2010 12 - 20 March, 2010 (on tour 23-27 March) in Baby Grand, Belfast

"In Gaelic mythology there are tales of monstrous fish being washed up on shore. These would often transform themselves into other creatures or indeed people with magical powers. The sighting of one of these sea monsters was considered a portent.” (The Sign of the Whale, pg 28) In 1977, a...

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London Assurance by Dion Boucicault

Reviewed by Karen Fricker on 17 March 2010 10 March – 2 June, 2010 in Olivier Theatre (National Theatre), London

For those who know Boucicault only for his exaggeratedly Irish plays, The Colleen Bawn, Arrah-na-Pogue, and The Shaughraun, London Assurance may come as a bit of a shock, for there is nothing easily identifiable as Irish about it. It’s a town and country comedy, set between the English capital...

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A Behanding in Spokane by Martin McDonagh

Reviewed by Heather Johnson on 17 March 2010 4 March - 6 June, 2010 in Gerald Schoenfeld Theater

Premiered in New York, Martin McDonagh’s American play, A Behanding in Spokane, gives us a tall man in a tall tale. The tall man in question is the actor Christopher Walken whose stage presence is pivotal to this production’s success. The tall tale is the story of Carmichael (Walken), a self-styled...

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Sodome, My Love by Laurent Gaudé

Reviewed by Fintan Walsh on 16 March 2010 16 – 27 March, 2010 in Project Arts Centre

The curtain rises like a heavy tombstone to reveal a women sitting on a bench, her feet turned inward, her head looking away, motionless. Gradually, an image of her face fades into focus on the back wall. Serene and ashen, she could be dead. But suddenly, water breaks from the skies, and the figure preserved...

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Philadelphia, Here I Come! by Brian Friel

Reviewed by Christina Hunt Mahony on 15 March 2010 15 March - 10 April, 2010 in Gaiety Theatre, Dublin

Brian Friel’s Philadelphia, Here I Come! returns to the Gaiety where it was first performed in 1964 during the Dublin Theatre Festival. Director Dominic Dromgoole brings with him extensive experience working with classics from different periods. Proceeding with due respect for both playwright and...

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Broken Croí/Heart Briste by Manchán Magan

Reviewed by Sara Keating on 15 March 2010 15 - 20 March, 2010 in Project Arts Centre

Broken Croí/Heart Briste is a dramatic and linguistic experiment. Written and performed by Manchán Magan, it seeks to investigate the limitations of language as a means of communication and the limitations of the Irish language in contemporary theatrical culture. As the spliced title suggests, the play...

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The Haunting of Helena Blunden by Bernie McGill and Paul Boyd

Reviewed by Jesse Weaver on 09 March 2010 26 February - 27 March, 2010 in Civic Theatre (on tour)

In his recent review of Andrew Lloyd Webber’s Love Never Dies, critic Ben Brantley compares the modern musical to something like a theatrical amusement park ride. No one goes to them looking for finely detailed acting or a subtle drawing of the complexity of human relationships; they go to them...

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