In our latest review, Youth Theatre Ireland’s own National Youth Theatre production comes under the watchful eye of the Young Critics gaze.
Aftertaste by Ciara Elizabeth Smyth is a thought-provoking, original piece that takes a well-timed look at a dystopian near future without any sugar-coating.
Aftertaste is the culmination of 22 young people aged 16-20 from Youth Theatres across the country working together to celebrate the National Youth Theatre, an event organized by Youth Theatre Ireland and supported by the Abbey Theatre. This production is especially made for YouTube and was intended to be watched as a pre-record rather than as a live stream or in a theatre. It is directed by National Youth Theatre Director Veronica Coburn.
The play is set in an Ireland where the National Alliance Party have rose to power led by President Sanbrooke Martin (Samuel Ferrie) on the one-year anniversary of the passing of the Health and Wellness Act, banning foods with a high sugar or fat content. As a result of this, many are left starving and Junk Advocates have arisen, people eating illegal foods on their social media accounts and condemning the government. Several of these Advocates have been going missing, including 21-year-old Lila Birch (Daisy Hartigan) who has been missing for 6 days. Lila’s sister, Eadie Birch (Ella O’Callaghan) is getting no answers from the authorities. Meanwhile, there is internal strife within the National Alliance Party; Vice-President Jana Kaminski (Julia Szarota) is vying for President Martin’s position and journalist Oisín Ó Hanluain (Odhran Exton) is seeking to undermine the President’s policies.
These various political operatives, movie stars and the staff of The Royal Marine Restaurant eventually collide in a moment of frenzy at an ill- fated anniversary dinner honouring President Martin.
The excellent ensemble is completed by Caoimhe O’Farrell, Abbi Breen, Sadhbh McDonough, Tristan Spellman Molphy, Matthew Eglinton, Abhainn Harrington, Max Mufwasoni, Cara Mooney, Adam Henry, Aileen Broidy and Seán Loughrey.
The actors had to overcome the obstacle of a pre-recorded performance and convey a realistic portrayal of an authoritarian regime. They were able to do this whilst maintaining a certain amount of levity. We were given a detailed overview of this darker life from multiple societal perspectives, political leaders and glamorous celebrities to the everyday people who are affected by their actions. Overall, the actors more than deliver on their attempts to engage, entertain and make us think.
Sets were not heavily integral to this production and most often simple plain colour backgrounds were used with some exceptions. Basic props such as chairs, tables or podiums were used to set the scene. The politicians’ costumes are bright pinky-purple pastel colours while in comparison the outfits of the ordinary people are drab, dreary shades of brown. We also see the uniforms of The Royal Marine, crisp, professional attire. The work of lighting designer Suzzi Cummins is bright and powerful, stimulating the viewer and evoking emotional reactions. Sound designer Sinead Diskin and visual designer Cherie White work in tandem to provide an intense, rhythmic audio coupled with striking visuals which works together to pump up the audience and bring across the broader feelings of the piece. I think these various components combine to form a strong, successful use of design.
In closing, Aftertaste is a unique play that peers into the darker sides of wellbeing and healthy eating. This is a show that cannot be missed.
Aftertaste was broadcast on the Abbey Theatre’s YouTube Channel from Aug 8th- 15th 2021. Produced by Youth Theatre Ireland.
From April 28th – May 1st 2020 the Abbey Theatre broadcast fifty short monologues as an immediate response to COVID-19 and the first lockdown in Ireland.
The brief was simple, What should Ireland write on a postcard to itself?
A whole year later, our newest group of Young Critics had the unique opportunity to revisit one of the pieces and watch it in isolation. Thanks to the generosity of the creators, the group had a private viewing of The Rock, written by Phillip McMahon and performed by Caoilfhionn Dunne.
We have a trio of short reviews from Anna Lynch,Evie Howard and Sarah Carolan for you to enjoy.
First up, Anna Lynch shares this review
The Rock by Phillip McMahon, part of the Dear Ireland project by the Abbey Theatre. Rating: ★★★★
The Rock poses to Ireland some uncomfortable questions, mainly how far have we as a society really come in terms of LGBTQ+ acceptance?
Written by Phillip McMahon and part of Abbey Theatre’s Dear Ireland project, The Rock is presented to us in the form of a video diary filmed by the only character. It’s recorded during a Covid-19 lockdown as a way of documenting the run-up to her wedding and to have as a keepsake for her future, but presently non-existent kids. We are privy to the troubles and turmoil the relationship between the character and her partner Carol have endured, see how internalised homophobia is still present in modern day Ireland and learn how important communication and co-operation are in relationships.
Caoilfhionn Dunne portrays the role of the angsty other half perfectly, capturing not only the essence of the lockdown madness, but also portraying the pressure of being a lesbian in Ireland. Taking into consideration the fact that the entire monologue is self-recorded and has no director, one has to applaud how smoothly the video runs.
The entire performance is intimate and personal, creating the illusion that the viewers are part of their lives. The script was outstanding, full of the Irish humour we all know and love. In particular, McMahon’s consistent references to rocks was extraordinarily clever when describing the feelings and thoughts of the character. It makes us think about how Irish views on the LGBTQ+ community and how indiscreet homophobia, even from loved ones, can have a profound impact on lives.
At times the monologue was perhaps spoken too fast, making it difficult to understand. However, overall, the short performance was excellent. This is definitely one to watch if you’re in the mood for some food for thought.
Evie Howard writes:
|In this witty and realistic account of lockdown life in Ireland, Phillip McMahon tells an engaging and thought provoking story of a Dublin woman struggling with tradition, family, and identity.|
The Rock was written as part of the Dear Ireland project, an initiative run by the Abbey Theatre in order to keep theatre alive during a nationwide lockdown. The idea is simple; 50 pieces written by 50 playwrights which were then self-taped by 50 actors. All the pieces were written with one theme in mind; ‘what should Ireland write on a postcard to itself?’
This theme is one that Phillip McMahon pulls off particularly successfully, raising a number of talking points about Irish society. In The Rock, we watch as the main character (played by Caoilfhionn Dunne) speaks directly into the camera in a way that feels very vulnerable and intimate. The piece is formatted as a video diary and we learn that she has proposed to her girlfriend and since revoked her proposal, telling a story of self-doubt and relationship troubles relatable to many. She also tells of problems with family, as she struggles to rebuild bridges with her homophobic mother. McMahon manages to pack a lot of information into the short few minutes of this piece of theatre while still keeping the dialogue natural, and Dunne makes a great performance, keeping consistent energy throughout.
As for negatives, of which there are few, the dialogue can be difficult to understand at times, especially for those unfamiliar with the Dublin accent, and the background is bland and can be distracting, but these issues are minor, and given The Rock was self-taped under unique circumstances, it can be forgiven. Overall, well worth the watch and I would recommend seeking it out should the opportunity to view it arise again.
Finally Sarah writes this review from April 30th.
The Rock- online performance for Dear Ireland- Abby theatre- written by Phillip McMahon- performed by Caoilfhionn Dunne
The rock is an insight into the stone cold society that we live in, with deep rooted beliefs that affect us more than we may think. A worthwhile watch that you, for sure, won’t take for granted.
The main character (played by Caoilfhionn Dunne) breaks the fourth wall, talking directly to the camera about her experience of lockdown through the format of a video diary. She tells us about the societal pressure she feels in everyday life and gives us an insight to how she makes decisions that affect her. She proposed to her girlfriend, but questioned what marriage meant to her. She tells us about the strain on the relationship with her mother, who has never fully accepted her sexuality.
Overall it was an extremely well put together piece. The subtlety of Caoilfionn’s performance was impeccable, to the point where it felt natural, as if she was talking to us through the diary. I also think the online medium was used to its fullest potential. Being able to adapt a story to the circumstances we find ourselves in, and not feel out of place, is a huge skill.
The design was simple and didn’t distract from the piece, but I wonder if a more cluttered backdrop could have reflected on the obstacles the characters have overcome.
With that said, it carries an extremely important message, making you examine the importance of “social norms” in today’s society.
Youth Theatre Ireland returned to Dublin Theatre Festival for the 17th iteration of Young Critics.
This year has been like no other, with a Young Critics programme to match. Between June and October, eighteen young people from across Ireland honed their critical skills from the comfort and safety of their own homes.
They have been guided on their journey of critical discovery by our expert facilitators: Alan King in Dublin and theatre critic Dr. Karen Fricker in Toronto.
Over the course of the Dublin Theatre Festival, the Young Critics engaged with several programmed events and presented their critical responses at this special online panel.
Young Critics have been working with digital tools for criticism for the last number of years and the 2020 panel was an opportunity to showcase this like never before.
This is an edited version of the Young Critics Panel discussion that took place on Sunday, Oct 11th at 4pm.
Our panel of Young Critics discuss:
To Be A Machine (Version 1.0) by Dead Centre
The Party to End All Parties by ANU Productions & Dublin Theatre Festival
Chaired by Dr. Karen Fricker Hosted by Youth Theatre Ireland at the Dublin Theatre Festival 2020 https://dublintheatrefestival.ie/prog…
This Youth Theatre Ireland programme is funded by the Arts Council and the Department of Children, Equality, Disability, Integration and Youth.
The 2020 iteration of Young Critics, has like most events globally, been deeply affected by the COVID19 pandemic. This upcoming weekend of April 17- 19th would have been our first weekend together as Young Critics.
So instead of bringing our group to Dublin for their first weekend, we will be running a selection of their initial reviews.
These reviews were submitted as part of their Young Critics application. As such, they represent the first steps on their Young Critics journey. We hope you enjoy them.
Our third Young Critic is Ruairí Phelan from Dublin Youth Theatre. Here he turns his attention to The Fall of the Second Republic by Michael West in collaboration with Annie Ryan. It ran from Feb 24th and recently finished its run at The Abbey Theatre .
The Fall of the Second Republic by Michael West and Annie Ryan aims to cover a lot in two hours. Created in collaboration with the award-winning Corn Exchange, the play is typical of the company’s style (picture heavy makeup, exaggerated movement, and dark eyebrows drawn in symbols resembling a Nike tick).
Set in 70s Ireland the play centres on a threat to the much loved The Theatre Royale, and a plot to destroy it to make way for the International Banking Centre (IBC). When a protester against the demolition is caught and killed inside a mysterious fire at the theatre, and the government is linked to the blaze, there’s uproar.
In the aftermath, our heroine – journalist Emer Hackett (Caitriona Ennis) – investigates Taoiseach Manny Spillane (Andrew Bennett) and his colleagues who many suspect are linked to the deadly fire.
Confused? I was, and it’s all a little busy with so many topics, as the play struggles to find its central theme, jumping around heavyweight issues including sexism, abortion, corruption and Irish/British relations.
But there are many triumphs, and The Abbey lives up to its recent promise to better reflect Irish life and culture. Meanwhile the talented cast give impressive performances and effortlessly transport us to the 70s helped by Sailéog O’Halloran’s clever costumes and Katie Davenport’s wonderful set.
There are great lines, and delicious parallels to contemporary political post-election wrangling: “A coalition with the wankers?” laments one member of the losing majority party, “It would be like marrying your cousins.”
Leo Varadkar might agree.
Ruairí Phelan is a member of Dublin Youth Theatre and a Youth Theatre Ireland Young Critic for 2020.
Ruairí Phelan is a performer, writer, and proud member of Dublin Youth Theatre where he gained entry through audition two years ago.
Ruairí, 16, has been acting since he was six and acting up since he was born! His recent productions include Primo Dolce as part of DYT’s Members One-Act Festival and The Sleepwalkers — Dublin Theatre Festival and Pan Pan Theatre. As well, he is Assistant Director for two plays and recently won a week training scheme at The Abbey.
He’s a keen videographer and enjoys listening to podcasts and messing around in GarageBand. He’s a terrible dancer but gives it a lash anyway. Ruairi loves all form of theatre. He has too many favourite plays and writers to list but considers seeing any work an honour and is looking forward to analysing theatre in-depth to discover what works and what doesn’t. He hopes this will help to make his own work better.
The 2020 iteration of Young Critics, has like most events globally, been deeply affected by the COVID19 pandemic. So instead of bringing our group to Dublin for their first weekend together in April, we will be running a selection of their initial reviews.
These reviews were submitted as part of their Young Critics application. As such, they represent the first steps on their Young Critics journey. We hope you enjoy them.
First up, Young Critic Heather Jones from Giant Wolf Youth Theatre reviews Howie The Rookie at the Civic Theatre in Tallaght. Presented by Glass Mask Theatre as part of a national tour, this review contains ***MAJOR SPOILERS*** for Howie The Rookie.
This delightfully emotional, witty, thought-provoking play by Mark O’Rowe is truly a sight to behold.
The play centres on two dual monologues – delivered by our main characters ‘the Howie Lee’ (Stephen Jones) and ‘the Rookie Lee’ (Rex Ryan), some of Ireland’s most exciting actors – taking the audience on an adventure of two individuals fighting for survival and meaning against a Dublin City pulsing with violence.
Some of the truly incredible elements of the show come in the form of delivery, lighting and sound design and its conspiracy ending.
The delivery by each actor is truly miraculous. The authenticity and immersive-ness of the performance allows for the play to envelop the audience in all elements of the plot, themes and believability of the characters. Even the delivery of the play’s major twists and turns are done so with ease by Jones and Rex. The physicality and recall of these extraordinary actors is unbelievable as well and is certainly commendable, admired and one of the most memorable attributes of the show.
But an actor can only be as good as their tools, and in this case the writing for this theatrical piece is remarkable. The play is structured in two acts, with each act as one monologue delivered by their respective character – Act One saw the ‘larger than life’, the Howie Lee, as the storyteller with Act Two, looking toward ‘the playboy’, the Rookie Lee, to pick up the torch. With each act capping in at nearly 50 minutes, the performances of Jones and Ryan are looked on with awe and admiration by their audience.
The lighting and sound design are other elements that resulted in such an incredible play. Due to set design – or lack thereof, with nothing but an empty stage for the actors to play with – every flicker of light or hum of a note was noticed by the eagle-eyed and elephant-eared viewer. All lighting arrangements were easily recognisable and clearly helped to establish the setting in the face-paced, ever-evolving story. Even the subtle music cues of soft filler music or cheesy love songs aided in the telling of a sensual, emotional story.
Finally, the mysterious ending. This is where the debate begins. What? That’s all I can say about it. Theories range from ‘he’s obviously dead’ to ‘it’s all in his head’. Regardless of what it all means, it truly is an intriguing ending. It is one that sticks with an audience as we are left to ponder and theorise, making the play memorable. For me personally, I would have liked a little more detail or sense of what it meant – as my friends and I were left flabbergasted and longed to know what the heck we had just seen. It definitely took a turn that both no one expected or understood.
Nonetheless, I really enjoyed the play and would encourage everyone to go and see it – but be warned, prepare to leave the theatre wondering what just happened.
Heather has been a member of Giant Wolf Youth Theatre for just over a year.
She has loved every second of this experience and learned so much about herself and theatre as a whole. She has been involved in physical theatre, movement, stage combat, writing and general production workshops within her time in Giant Wolf. They, as a theatre, have done one major production called ‘Eggplant’, centred around teenage sexual relationships, sexual maturity and sexual education. She has participated in a European Youth Theatre Festival called ‘Intertwined’ in Cottbus, Germany.
Heather would love to gain more expertise and understanding of theatre from the Young Critics Programme. Having in-depth discussions is something she loves to do and getting to have those discussions on plays and theatre is like a dream come true for me. She’d love to become an actor or something within the world of drama when she’s older too and feels this programme will benefit her greatly.
She would also love to make new friends to last me a lifetime also. Getting to meet like-minded people who share common interests is always exciting and seldom seen. And seeing a few shows for free doesn’t sound too bad either.
It’s been a busy few months since the Young Critics last met in April as they have been honing their critical skills while seeing shows up and down the country.
With the Dublin Theatre Festival looming over the horizon, we reflect on some of the productions the Young Critics saw over the summer.
To whet your appetite for festival season, Young Critic Pippa Molony gives us this epic review of Ulysses at the Abbey Theatre
Elsewhere our Young Critics saw Pat Kinevane’s Silent, The Aspirations of Daise Morrow at the Black Box Theatre Galway, Asking for It and Wet Paint at the Everyman Cork, Mamma Mia on the West End, A Doll’s House at the Roscommon Arts Centre and the Deadly Wizard of Oz in Dundalk.
We will be announcing the Young Critics picks for the Dublin Theatre Festival very soon along with details of the Panel discussion itself.
Aaron Dobson from Leitrim Youth Theatre Company, Carrigallen shares this review of Class by Iseult Golden and David Horan
Classrooms are some of the most popular scenarios for plays – whether it be a story of a trip to the boarding school (Daisy Pulls It Off by Denise Deegan), or a teacher faced with the duty of educating youth (Alan Bennett’s The History Boys is a great example), the classroom is the perfect closed-off space for many a show. But one thing that I have never seen worked upon on the big stage is a parent-teacher meeting – and CLASS does this to perfection, and more. You could almost say…. It’s a CLASS act.
Puns aside, this production was one of the most phenomenal experiences I have had from a small-cast production in a while. The setting never changes. The tension never changes. The actors never change…but their characters do. The story revolves around Brian and Donna (played by Stephen Jones and Sarah Morris) and the struggles they face bringing up their children in a broken relationship. The standing point in the story is that their 9-year old child, Jayden, is having troubles at school – and his teacher (Will O’Connell) is intending to enforce learning support upon him, which brings great grief onto Brian specifically.
Now this alone would make for an interesting story. The could have stopped here, added little else, and the play would still be a triumph and an excellent piece of writing. But co-writers David Horan and Iseult Golden, under Horan’s direction, deserve extra appraisal for going beyond this one idea and adventuring into unknown territory. At first I was worried when I heard about the actors “reverting into the younger generation”. However, when I first seen Brian transform into Jayden and Donna into the child of a drug addict, I knew this was something special. Their childlike states gave myself and the audience the information we needed about the situation at hand without a word spoken by the parents.
The teacher himself faces some sort of internal conflict – between his own personal matters, the slowly derailing meeting and the children’s situation at their learning support. It was interesting to note how he deals with both children and parents, despite them being the same actors – For example, their transition from a dance routine to a tense, nervous situation between the same trio. This transition was flawless – especially with the parents and their kids, who could revert from being hilariously out of tune with the rest of the world to stern, stubborn, angry at the world and ever situation around them.
The ending alone was one of the key points of the play, and possibly the part that shook me the most. Of course I won’t spoil it, but it finally became clear the true nature of Donna and Brian’s relationship, and the root of the majority of the problems faced throughout the play. Ultimately, the experience was riveting and exciting, with comedic moments scattered throughout the play – but the true focus and underlying messages of terror in a school environment and possible mental issues stuck strong with me, and for this I would thoroughly recommend seeing this play.
As 2017 comes to an end we’re taking the opportunity to post some reviews from our Young Critics.
In total the Young Critics saw 15 shows this year. These include the six they saw in Dublin as part of Young Critics as well shows in the Abbey Theatre, their local venues, The Edinburgh Fringe and even the West End in London.
First up Lara Cody from Explore Youth Theatre gives us her impression of Room
I went to see the production of Room in the Abbey Theatre with high expectations. The production was first an international best selling novel which won many awards. This was then brought to screen and finally stage. The many awards Emma Donoghue’s writing has won, along with many positive comments from friends and family led me to expect a heartbreaking and moving production that will bring me to tears. I was not disappointed.
Room tells the story of ‘Ma’ (Witney White), a young woman who was abducted at 19, she was held in a shed made into an all-purpose room, where she was beaten, raped and impregnated and her 5 year old son Jack (Darmani Eboji). The production begins with a light atmosphere as Ma and Jack go about their daily routines. It seems that everything is perfectly fine and there is no mention of ‘Old Nick’, their captor. Once Jack is asleep, we see the distress and frustration of Ma. The light atmosphere changes dramatically to a much darker, somber mood as Old Nick (Liam McKenna) steps into the room. The mood becomes increasingly darker and tense as the first half progresses and Ma is becomes more desperate to escape the room. The building tension climaxes in an incredibly powerful song sung by Ma. It left me clinging on to the edge of my seat, completely blown away and consumed by the performance and production. I did not want it to stop for the interval!
One thing that I was sceptical about was the musical aspect of the production. I was not sure how they would turn such a tragic story into a musical as there have been productions where the added musical interpretation has taken away from the powerful tale. However, I was happily surprised by the incredible music that most certainly added to the overall production. The moving and breathtaking ballads by Ma allowed us an insight into her thoughts and emotions, as the story is told from Jack’s perspective. I must admit that it was the musical talents of Witney White (Ma), Fela Lufadeju (Big Jack), Cora Bissett and Kathryn Joseph (Composers) that brought me to tears and left me talking about the production days after.
The clever device of splitting the part of Jack into ‘Little Jack’ and ‘Big Jack’ was a great success. The use of a child actor allowed us to witness the innocence of a child along with accurately representing the intimate and protective relationship of a mother and child, while the older actor allowed us to see how imaginative, colourful, curious and questioning Jack is. This was a brilliant way to solve the problem of a child actor carrying the responsibility of such a big part. This Abbey Theatre and Theatre Royal Stratford East co-production was a great success and received a well deserved standing ovation. ‘Room’ deals with themes such as abduction, rape and depression in a powerful way, leaving the audience speechless and thinking of the production for days after. 5 stars.
Lara Coady is a member of Explore Youth Theatre, Leixlip Co.Kildare. She was a Youth Theatre Ireland Young Critic for 2017.
Meanwhile Cian McGrath from Free Radicals Youth Theatre in Tralee has this to say on Room.
Room is, at its heart, a play about love; more specifically, the love between a mother and her son. In Room these two characters are forced to endure their existence in a single room, with no contact from the outside world. One would think that this would allow for a great amount of empathy and emotional connection. But this play can only grasp for such emotion through contrived, over-sentimentalised scenes, whose only feeling it can evoke in this viewer is boredom and annoyance.
Room begins with our narrator, Big Jack (Fela Lufadeju) who narrates the daily process behind life in what is simply known as ‘Room’. This is when our two principal characters are introduced; Ma (Whitney White) and Little Jack (Harrison Wilding). This mother and son duo go about their daily routine in the most over-enthusiastic method possible; which should serve as a hint for the forced emotion the play tries to pry out of its audience as it progresses. Their rudimentary schedule is played out with such happiness that one would expect both characters to break out in song at any moment; fortunately, this is not the case.
Not much information is revealed about our characters’ situation, but as the play progresses we realise that Ma was kidnapped years ago, and that inside Room she gave birth to Jack, her five-year old son. Her kidnapper, known only as Old Nick, is Jack’s biological father. And yet at no point are any of the real emotions behind captivity revealed; both mother and son simply go about their day with larger than life enthusiasm, except when they engage in shouting matches with one another. Little Jack’s thoughts are occasionally conveyed by Big Jack, but this is just another diversion; as the play progresses Big Jack’s role diminishes significantly.
This is essentially the major flaw of Room; its need for emotional intensity means that as the play progresses each scene invariably ends with someone shouting out in anger or hurt. In no scene are there ever any moments of quiet reflection; through mere dialogue the play becomes a bombardment of sound, and an assault on the viewer. At no point does this drama offer us a moment of silence, which could at least punctuate the passionate intensity of emotion displayed in other scenes. Room can’t seem to function without scenes in which characters bring themselves to the highest point of their emotional brevity, only for the next scene to begin with the same normal, regular emotion only to catapult into another barrage of furious shouting in an endless, tiring pattern.
Onstage there is a large box which represents Room, the enclosed space in which Jack and Ma are confined to. And yet it never feels as though they are trapped in a confined space; there is nothing claustrophobic about Room’s set. Instead, it opts for a more unconventional approach; the set serves as something malleable, at one point even revolving. But while these may seem like ingenious techniques, they soon grow tiresome and are little more than gimmicks to make up for the play’s other deficiencies. Its interesting movements may captivate at first, but like the play, they do nothing to enforce the idea of entrapment or claustrophobia. Instead, they feel like little more than a smaller stage built solely for the purpose of flashy diversions.
Ultimately Room is a failure, due to its inability to understand the limits of emotion. Its scenes of emotional intensity play out in dizzying fashion, with each one further reinforcing the play’s lack of knowledge about an audience’s capacity for empathy. Room wants to be a rollercoaster of emotions, but ultimately it is a collection of missed notes and woeful script making decisions that only alienate any potential viewer. Witnessing it is like living through Groundhog Day; the reason for it may change, but each scene begins without any sense of what tone will be conveyed throughout, and will ultimately end in another failed attempt at emotional connection.
Its deficiencies can be effectively captured in one scene in the play’s first act, in which Jack counts as far as he can to avoid having to hear any noise outside his room. Outside his closet a rape scene occurs between Old Nick and Ma, and it is clear that this is a regular occurrence in their lives. As this is happening the stage revolves, as Jack’s counting is timed with the creaking of the bed outside his closet.
The whole thing becomes a twisted, sordid game and a parody of the emotion it tries to provoke. As the set continues to revolve onstage, the play has veered off wildly, and is far removed from the realm of emotional relatability.
Room is essentially that; a revolving stage with a clear target, but one that can never effectively grasp it. Its diversions can only go so far as to distract the viewer from it’s clear problem in conveying emotion.
Cian McGrath is a member of Free Radicals Youth Theatre in Tralee, Co.Kerry and a Youth Theatre Young Critics for 2017.