The Talking Shop on tour!
The Talking Shop is on tour in Ireland with other young critics from Ireland and Austria. So we will keep you updated with posts and reviews
The Ties That Bind- Shibari Review
Janet Moran and Orion Lee in the Abbey Theatre production of Gary Duggan’s SHIBARI, directed by Tom Creed on the Peacock stage as part of the Dublin Theatre Festival. 4 Oct – 3 Nov 2012. Pic by Fiona Morgan.
SHIBARI by Gary Duggan
Directed by: Tom Creed
Reviewed by: Luke Casserly, 08 October, 2012
Shibari is a contemporary piece of modern theatre which hones in on the ties, connections and interlinked relationships which exist between people in modern-day Dublin. Through a series of vignettes we see into the lives of six ordinary people living in the city.
A distinct and bold Japanese flavour wavers through this play at all times and many aspects of the lighting, setting and costume design are inclusive of this Japanese sense.
The clean and elegant knot transitions were admirably smooth, as was the quirky set, designed by Frank Conway. The gradual colour changes in costume from knot-to-knot were wickedly effective and acting was faultless throughout. I commend Janet Moran and Kate Nic Chonaonigh in particular on their excellent character development, which shone brilliantly on the night I attended.
I enjoyed this play a great amount. It doesn’t follow the conventional and linear structure of a play, instead, it unfolds in a series of knots, rather than scenes. The play’s clever structural arrangement along with its direct and sometimes witty dialogue was highly entertaining and indeed thought-provoking; Shibari is a play which is intensely real and relative to a modern Irish audience. Having said this, the play did not personally offer me any long-term effect. It did not cause me to think for any longer than a few hours post show.
Tom Creed has directed a wonderfully modern, symbolic and different piece in the form of Shibari, which is presented on the Peacock Stage. A play full of realism and quirk, it is highly entertaining to say the least. As I had seen it in its preview stage, I look forward to seeing the further development which the production undergoes. It is highly recommended by this critic that you go and experience Shibari for yourself.
Luke Casserly is a member of NAYD’s Young Critics 2012
Dublin Theatre Festival. Young Critics 2012 – Sarah Mc Goohan
6 days. It is how long I have spent so far with my fellow Young Critics. 6 days. It is how long until myself and 15 other buzzing young theatre lovers are spoiled with an action packed weekend of good quality theatre, analytical discussion and guaranteed enjoyment. From the 5th to the 7th of October the Young Critics Programme, led by Alan King (NAYD’s youth theatre officer) and Dr. Karen Fricker, will hold their third and final residential weekend of 2012 as a part of the Dublin Theatre Festival.
I eagerly await next weekend with anticipation as from researching the line up of plays that we will be seeing and critiquing, I think it is going to be one of the best weekends so far which I can’t believe I’m saying after experiencing the wonderful Cork Midsummer Festival in June and prior to that, our weekend in Dublin in early April. Over the course of the three days we will be seeing three shows: Shibari by Gary Duggan presented by The Abbey Theatre, DruidMurphy- Plays by Tom Murphy : A Whistle in the Dark and The Wooster Group – Hamlet by William Shakespeare.
From tapping our feet to the music of Liam Ó Maonlaí and dancing on stage with the performers of ‘Rian’ in Cork Opera House, subtly taking over a shopping mall as part of Parallel Cities site specific Saturday afternoon show, Dylan Tighe’s emotionally provocative ‘Record’ and yet another late night visit to Parallel Cities: ‘House’, sitting down to relish in some straight drama like ‘Hamlet’ or ‘A Whistle in the Dark’ will contrast just beautifully.
Something that we, as 16 young critics, will be experiencing this weekend is publically discussing our feelings and opinions on what we have seen, heard, liked, loved or disliked at our public panel discussion on Sunday, October 7th at Project Arts Centre, Temple Bar. Both Dr. Karen Fricker and Alan King have (hopefully) sufficiently prepared us for this event by asking us questions and thus stimulating our thoughts and leading our analysis in the right direction. We now know what questions to ask and why to ask them. “Why did the director make the decision to do this or that?” “Did it work?” “If so, why?” – and so on and so forth.
The Young Critics Programme has also helped us with our own personal artistic issues. I find it much easier now to see from an audience’s perspective and how to access different obstacles we are faced whilst acting, directing or designing. It has made me more appreciative of theatre and my love for the stage and performance has done nothing but blossom since I have fallen in with NAYD.
The Mai – Review by Aoife Lanigan
Venue: Town Hall Theatre
Directed by Roisin Stack
Produced by Mephisto Theatre Company
The Mai is a tragic story about the complexity of love and relationships. Written by Marina Carr, The Mai is about the lives of four generations of women and the destructive force of love that irreparably affects them. It challenges the audience to question oppressive traditions such as compulsory motherhood. The play is revealed through the memories of 30-year-old Millie remembering the events of 1979 when she was sixteen. Her father Robert left for five years, leaving The Mai, her mother, to raise their four children. The extended family includes The Mai’s meddling sisters, aunts and sharp-tongued opium smoking grandmother. Rich resonant tones of a cello opens the play gradually and complements the plot as it progresses. The stage is set as a family living room with prominent windows over looking a garden and lake. The lighting changes to blue for Millie’s reflections are very effective. All of the actors give convincing performances. The energy and rhythm onstage captivates the audience immediately. The small details like the grandmothers bent leg when she sits and Millie’s quiet reactions in the background really shows the attention given to these characters. The stage is used well and the pacing is smooth and unforced.
Carr’s script has a haunting quality and witty charm that portrays the lives of these flawed women in a unique style. The dialogue is colourful and humour counteracts the tragedy throughout the play. Margaret O’Sullivan is superb as Grandma Fraochlan who pines for her husband, the nine-fingered fisherman. Frieda McGrath as Julie evokes sympathy from the audience despite Julie’s conservative views on marriage. There are few flaws in this script, although Roberts character could be developed and explained more.
Overall this play is to be admired for its exploration into human behaviour. The nature of family is examined and we are left with a bittersweet feeling. The Mai shows us the importance of change and choice, and the effect it can have on us. The Mai ran from the 16 Aug to 25 Aug
Tuesdays With Morrie – Reviewed by Madi O’Carroll
Tuesdays With Morrie
The Viking Theatre, Clontarf
Directed by Breda Cashe
Reviewed By Madi O’Carroll
It’s not often that a person might find a quaint, homemade theatre up the narrow stairs of an old Irish pub in Clontarf. As though stepping through the Narnian wardrobe, this is the experience to be had when going to see the production of Tuesdays With Morrie in the Viking Theatre, the transformed upstairs of Connolly’s pub in Clontarf, Dublin.
Adapted by Jeffrey Hatcher, this play follows the autobiographical story of author Mitch Albom and his relationship with his dying college professor, Morrie Schwartz. Every Tuesday they meet, and every Tuesday Mitch is challenged by Morrie’s admirable vigour for life – even on the throes of death. The tiny room barely seats fifty audience members on whatever pub stool, kitchen chair or even old cinema seat you can find. I had the experience of sitting in the front row, a daring choice with the stage nearly on top of me. It paid off, adding nicely to the already intimate mood of the play.
The performances from the two men, Andrew Murray as Albom and Terry Byrne as Morrie, are truly impressive and they share a great dynamic together onstage. Both actors brought tears of laughter and of sorrow to my eyes with their naturalistic approach to their characters. They developed subtly yet consistently as the play progressed. With a simple, neat set, fabulous music and precise lighting it is clear that the raw truth of Albom’s story is the main event, something that needs nothing more than an attentive audience and fantastic performers-neither of which were lacking!
To conclude, this play causes the audience member to go on a necessary trip into the self, and to question what really makes life fulfilling. In the loving but often complicated relationship between a man and an eternal teacher we see the relationships that we have, that we sometimes lose and what priceless knowledge we acquire from them.
Runs from 8th – 25th August.
Reviewed August 15th.
Special Events – Dublin Theatre Festival, Ireland 2012
Special Events – Dublin Theatre Festival, Ireland 2012.
YOUNG CRITICS’ PANEL
Young Critics is a programme of the National Association for Youth Drama (NAYD). Every year, 16 youth theatre members from across Ireland come together to watch, workshop, discuss and critique high quality national and international theatre, bringing their unique perspective to the Festival. This event is open to people of all ages.
For further information see www.nayd.ie
| Venue | Project Arts Centre |
| Date | 7 Oct |
| Time | 1.15PM |
The Young Critics Are Coming
Leaving an Imprint
Rian
Fabulous Beast / Liam Ó Maonlaí / Michael Keegan-Dolan
Cork Opera House
Reviewed 22 June 2012 by Sarah Brett, Niamh McCormack, Sarah McGooghan, Megan Moroney, and Aaron Mullaney
Rian as gaeilge translates as ‘imprint’. Inspired by Sean O’Riada (one of the most influential icons in the mid-20th century revival of Irish traditional music), Liam Ó Maonlaí ‘s music inspires powerful and emotional movement from both the cast of contemporary dancers, and, at the show’s end, the audience. The experience is unique and awakens the primal imprint of rhythm and joy within us. Along with O’Maonlai, Michael Keegan-Dolan, artistic director of Fabulous Beast Dance Theatre, has created a beautiful, passionate and moving ensemble of music and dance.
The technical abilities of both the dancers and musicians are evident throughout the performance. The organic beat of the dancers’ bare feet on the floor reinforced that of the bodhrán, combining to create an electric atmosphere. Although at times the dancers are not directly in sync with each other, the contemporary movement offers a context for this. Rian is a traditional Irish music lover’s paradise but the tribal beats and foreign and modern influences mean it is not exclusively so.
The stage layout was very striking as eerie shadows cast upon the light green backdrop helped create a feel of nature throughout the show – like how fire casts shadows upon the earth around it. Also the traditional semi-circular layout of the musicians and dancers worked well, as the audience felt as though they were taking part in a real Irish session.
There were certain aspects of the performance, however, that felt somewhat obvious and perhaps stereotypical. The nature of the stage layout made it difficult to see the whole performance at times; and there were some musical faux pas in terms of harmony. The ending of the performance was somewhat misleading as after the cast took their bow the show continued on, which was fortunate as the audience was then asked to come up on stage and dance with the cast. As minor as these flaws were, they were trifling compared to the overall performance of this outstanding show.
Rian gives a beautiful impression of the Irish culture and spirit. The performance offers an open and inclusive look into the Irish community. The dancers’ vivacious performance created an excitement in the audience and throughout the performance you had to suppress the urge to jump on stage and join the dancers. At the end, we finally were given this chance! Overall, this performance left an imprint on its audience and we highly recommend you to go and see it.
A Matter of Record
Record
Dylan Tighe
Half Moon Theatre
Reviewed 23 June 2012
by Sadhbh Keating,Amaka Attoh,Kim Molloy,Eimear Deery
Record by Dylan Tighe is an extremely difficult performance to critique as it is an autobiographical, emotional play about Tighe’s struggle with bipolar disorder. Also, we must note that we saw only the second preview and the production may change, and grow.
The setting is, for the most part, drab. The pre-set is very intimate; it feels like Tighe’s personal space. Guitars, a drum set, a large writing desk and a leather chair all dressed in dark colours reflect the melancholic mood of the show.
Tighe uses music from his debut album Record, his own medical records, and multimedia to portray the concept of mental illness. Tighe takes on the role of himself which provides authenticity and real raw human emotion. This also highlights the isolating and internalised nature of this disease. Keeping with the intimate nature of the performance, the supporting cast of musicians and actors is very small. Aofie Duffin takes on the role of Tighe’s nurse and love interest but, unfortunately, her performance lacks credibility. A more positive point of Duffin’s performance is her singing voice. Her hauntingly beautiful voice captures the turmoil of emotions her acting didn’t. Daniel Reardon takes on the role of the austere doctor and gives a satisfactory performance. Despite the small cast of supporting actors and their inability to effectively portray the story, powerful messages still come through, one being that medication may not always be effective to treat mental illness.
Elements such as Tighe’s own music also reinforced these messages and provided clarity to some of the more obscure images. Custom-made films about Tighe’s life and his ideas show his confusion and loneliness when in a depressed state, which gives the show a sense of reality. Tighe must be commended for this fearless production as he puts everything on the table.
Although the production deals with dark matters, humour and live music give it an uplift. We recommend it, although during parts of the show fantasy and reality collide, leading to confusion and ambiguity. This mirrors Tighe’s state of mind at the particular point in his life, and leaves the audience with much to contemplate.
Cork Midsummer Festival – From a Young Critic
I can honestly say that the weekend I spent with Young Critics at the
Cork Midsummer Festival was one the best of my young life so far. I was challenged by all four of the productions we attended to go outside my comfort zone physically and mentally. I was left thinking deeply about things such as mental health, what is means to be Irish, the materialistic values of today and lives that dwell behind closed doors.
My weekend began with a bus trip for me to ponder over what was ahead. I was excited and glad to be meeting my fellow young critics again. Together again for the first time in two months, we headed with Alan,Diane and Mirjana to our accommodation Victoria Lodge at UCC. Waiting for us there were welcome packages from the kind people of Cork Midsummer Festival, as well as complimentary food!
After being fed and watered, we trundled along to the Camden Palace Hotel, a quirky arts centre where we met up with Karen Fricker and took part in a workshop about the piece we were to see that night –Fabulous Beast’s Rian. This workshop was substantially more physical than previous ones; we explored the idea of abstract expression through movement. We discussed what Irish music meant to us all, our concepts of dance and watched an introductory film about Rian. We were truly pepped up at this point for a spectacular performance – and that it was.
Rian was one of the best performances I have ever witnessed. There was such a natural energy onstage, and the performers showed nothing but absolute joy in every single movement they made. Traditional Irish music and contemporary dance are not two things I have ever shown much interest in, nor did I ever think they could have meshed so well together! Liam Ó Maonlaí did Séan Ó Riada proud, amalgamating music of all cultures with traditional Irish. I was struck with a great sense of beauty at this magical performance, and the simplicity of human movement. To make a wonderful night even more so, the audience was invited onstage to share in the fabulous art of dance and we were joined by the director Michael Keegan-Dolan. It was a night that will stay in my memory for a long time.
Home we came to Victoria Lodge, still buzzing but in desperate need of sleep, some of us being up since as early as 06:00am. The next morning was an early one, and we trekked to Cork School of Music for the second workshop of the weekend to discuss our thoughts about Rian. We then turned our focus to the Parallel Cities project and to Dylan Tighe’s production of Record, and created some ideas as to what we were expecting.
Parallel Cities was a new experience for us all – Shopping Centre was an immersive performance, in which we took a set of headphones and a pocket radio and were instructed on how to act in a particular shopping centre in Cork (location top secret). It was great fun acting as an agent of the underground, but there was also a clear message in this piece: that consumerism and materialism has taken a hold of modern life, and that we are becoming slaves to our relationships with items rather than with people.
The other Parallel Cities piece we ‘saw’ was House, which gave a look into true life stories of various people living in Cork at the moment. I enjoyed the simplicity of this piece; we stood with headphones outside a house and observed the lives inside. The piece took me out of my own mind and reminded me of the importance of everyone’s story.
Between these two pieces we went to see a preview of Dylan Tighe’s Record. This play really struck a chord with me, if you will excuse the pun. The truth of Tighe’s life is literally laid bare for the audience to see in this piece, as he delves into his struggle with mental illness and the Irish health system. There was a complete connection made between man and audience through his heartfelt music and lyrics. Record made me think a lot about the complexity (and often the torture) of life, and this was succeeded through satirical humour as well as tragedy. Despite the pain and suffering, hope was the last note sounded in the play. The necessity of the ability to love dominates the message board of Record’ and I know will never listen to Fleetwood Mac’s ‘Need Your Love So Bad’ without thinking of Dylan Tighe.
The morning of the 24th was another early one in Cork School of Music again for our final workshop. We split off into smaller groups and were given the challenge of composing a review of one of the four pieces in just 40 minutes. It was such a thrill getting our reviews in on our first real deadline, and we were sixteen happy young critics that afternoon! We travelled to the bus and train stations and said our goodbyes, promising to keep in contact and keep critiquing.
As great as I thought the first weekend in Dublin was, Cork was twice that. It is really such a beautiful city, and the artistic opportunities available are enough to tempt me to move there! I loved the raw honesty I found in every one of the productions we went to see, and I cannot thank NAYD and Cork Midsummer Festival for giving me this invaluable experience. I feel myself coming away from Young Critics enriched with different tastes of theatre, and with an unending appetite for more.
Madi O’ Carroll, County Wexford Youth Theatre
