Theatre in the Digital Age by Sarah Brett

For this week’s blog entry we’ve enlisted the help of Young Critics Alumna Sarah Brett. Sarah was a Young Critic way back in 2012 and in this blog post turns here attention to a current online offering.

Since its release on YouTube on May 11th , Shakespeare’s ​Macbeth ​has been viewed over 300,000 times by people all over the world coping through quarantine and isolation. Although it is a distinctly different medium to experience their works of art, Shakespeare’s Globe has been able to reach a vast amount of people in such a short time. Allowing people to enjoy the experience of live theatre on the silver screen is an idea that has been around for a while now, but is it the same?

Days before lockdown began, I had gone to see ​The Taming of the Shrew ​live in The Globe Theatre, London. The Sam Wanamaker Playhouse is neatly tucked away behind the Globe and has a magical, enchanting feel to it. Lit only by candles, the entire venue is beautifully crafted, with the audience and players thrust closely together creating an intimate performance. The players nestled themselves within the audience throughout the night and portrayed scene changes by adjusting the candlelight by hand. ​Taming of the Shrew​ required little or no props and had a very minimalistic set, the soft light coupled with the players movements was alluring and charming. The whole environment and atmosphere completely enhanced my experience of the performance.

The Sam Wanamaker Playhouse

However the players themselves were not as captivating as I would have hoped, the normally wild and volatile nature of Katherine was dampened by Riggall’s performance which was static and unresponsive. When the players switch roles, there’s scarcely any change in physique or voice, remaining bland and unmoving. This begs the question, did the aesthetic of the venue contribute to my enjoyment of the play? Yes, I think so.

Michelle Terry in The Taming of the Shrew © Johan Persson

This week however, I sat down to watch Macbeth​ grace the stage of The Globe through the silver screen. As I drew the curtains and mimicked an auditorium as best I could, the experience wasn’t quite the same. Although both performed in neighbouring theatres and produced by the same company, my encounter of Macbeth​ was vastly contrasted by the memory of ​Taming of the Shrew​. Don’t get me wrong, it ​is​ bound to be different – after all this is why live theatre is still very much alive. However the freedom I had of checking my phone, running to the bathroom or shooting off to make a cup of tea was something that made the event quite mundane.​ ​The direction of the camera work included close up shots and different angles of the players themselves, as well as views of the audience and their reactions.

The decision to not have a static view of the stage was something I personally did not enjoy. For digital theatre to be convincing it should mimic a live performance as much as it can, otherwise why not just produce movie versions of the same plays? After all, there are reasons why we choose to experience live theatre over our cinema counterparts. Cressida Brown’s portrayal of the King of Scotland’s story was enjoyable and captivating, her use of modern props and musical numbers created a witty and easy-to-follow production – losing none of its original essence in the process. The version itself is an excellent one for young people, and the decision to have this so readily available online was actually for the sake of this demographic completing their GSCE’s and schoolwork. Knowing that The Globe is not headed in this direction for good is comforting in a sense.

Ekow Quartey as Macbeth. Photo credit: Ellie Kurtz

Don’t get me wrong, I didn’t expect the experiences of both to match up equally, and I am not fully against the idea of watching theatre at home. Being 25 years old, I have essentially grown up with technology all around me. With everyday entertainment so easily accessible at a whim, we should treasure the opportunities we get to see players work hard at these live performances. What I love most about theatre is the transmission of emotion from stage to audience. Yes, it can be achieved through the screen too, but there is something magical about seeing a human on stage deliver you those feelings.

Like I said, the idea of digital theatre is not new, Cinemas up and down the country have been broadcasting ​National Theatre Live​ via satellite for a several years now, not to mention nearly every concession stand at ​The Bord Gais Theatre s​elling DVDs of the performance on stage. However this is the first time in recent history where most of us don’t have a choice anymore. We are being forced to stay inside for the good of our health, so getting our fix of theatre comes in the form of onscreen productions. It’s not the worst option, and it definitely keeps us entertained, but my biggest fear is that this will become the new norm. With the dangers of the virus, it might be a long time before we get to gather inside an auditorium together again.

You can watch the full online version of Macbeth here

With entertainment all around us in different media, we should hold on to the unique experiences we have like heading to see and experience a show. We should remember the incredible feeling when sitting in the audience eagerly waiting for a show to begin, remembering that theatre is diverse, exciting, intimate and uplifting, sometimes these feelings just don’t translate through the screen. I don’t know about you, but when we are free to leave our homes, the theatre is the first place I want to go.

Sarah is a 25 year old Finance Manager from Dublin – not as boring as she sounds, promise! She took part in Young Critics in 2012 and was also a member of Clondalkin Youth Theatre in her teenage years, before leaving to study Computer Science in college. Although education and career wise she took different paths, her love for the Arts has never left. When not working, you’ll catch her regularly attending the Theatre, reading, painting or just listening to a nice ‘oul podcast!

Young Critics International Exchange 2017 – Applications Now Open

Creative Commons: Working together to support youth theatre development

Young Critics International Exchange 2017 - Applications Now Open

Young Critics International Exchange 2017

NAYD are looking for 14 young people, aged 16 – 20, with an interest in learning about and developing skills in creative criticism in theatre.

NAYD is delighted to be partnering with Youth Theatre Arts Scotland to run a 5-day Young Critics International Exchange in Dublin. Part of a 3-year joint project called Creative Commons supported by the European Union via its Erasmus+ programme, the exchange will support each young person to develop their individual critical response process, their understanding of theatre and an individual voice.

When?   Monday 10 – Friday 14 April 2017
Where?  Dublin
Cost?     FREE

CREATIVE COMMONS PROGRAMME

As a Young Critic, you will join 13 other young people from all over Ireland and 10 young people from Scotland in Dublin from April 10th – 14th.

Over the 5 action-packed days, participants will have fun getting to know each other, attend theatre productions, participate in a series of workshops and discussions as well as exploring the theatres and city of Dublin.  Accommodation and workshops will be based at the Marino Institute of Education.

Participants are given the opportunity to see quality productions and develop their critical silks under the mentorship of professional theatre critics Dr. Karen Fricker and Gareth Vile. Workshops will be facilitated by NAYD’s Youth Theatre Officer Alan King and YTAS Theatre Practitioner Amy Watt.

In addition, there will be Young Critics activities taking place in the months after the International Exchange.  Participants will continue the critical conversation on the Young Critics Blog where they will be encouraged to see, and make critical responses to, local productions.

The Irish group will come together in a similar way in October as part of the Dublin Theatre Festival.
The Scottish group will come together again for a weekend in August to take part in a series of workshops and to see productions at the Edinburgh Festival Fringe to build and hone the critical and creative skills developed in April.

At the end of the project, participants will qualify for a Youthpass, which is a European award recognizing non-formal and informal learning in youth work.

No prior experience is necessary, just an enthusiasm for learning and collaborating!  We are looking for young people who are comfortable meeting new people, working in a highly focused way and are not afraid to share their thoughts and opinions with each other.

ELIGIBILITY

• Applicants must be aged 16 – 20 on 1 April 2017.

• Applicants must be a current member of an NAYD affiliated Youth Theatre.

• Selected participants must be fully available from Monday 10 – Friday 14 April 2017 inclusive, willing to continue the critical conversation online and attend a follow up weekend event as part of Dublin Theatre Festival in October (dates tbc).

HOW TO APPLY

In order to offer individual advice and guidance on developing each young person’s critical skills, places on the programme are limited to 24 (14 from Ireland and 10 from Scotland)
We are looking for young people who are comfortable meeting new people, working in a highly focused way and are not afraid to share their thoughts and opinions with each other.

For full details on how to apply please  download our information pack and application form here  . Please provide us with the information asked for on the form and post your application no later than 5pm on Monday 6 February 2017. You can answer the application questions in writing or if you prefer via a video or voice recording (no longer than 2-3 minutes).

If you have any questions, please contact Alan King

Dates

April 10-14

Venue

Dublin

Bookings

Closing Date For Applications is 5pm Monday 6 February 2017

NAYD Young Critics at The Dublin Theatre Festival by Pierce McNee

It’s almost two month since the Young Critics panel discussion at the Dublin Theatre Festival. Pierce McNee from Dundalk reflects on three action packed days in Dublin. 

Friday Oct 7th 2016 

It was an eventful afternoon in Dublin, as ever.  Across the street a drum was was being beaten and a group of dancers performed to a large crowd. We were all reunited at the GPO and it felt like an age since the last time we had all seen each other. A great feeling came upon us all as we knew we were in for an absolute treat of a weekend.

 We could not wait!

We made our way to the Dublin Fringe Festival Lab, where we had our first workshop discussing what the Dublin Theatre Festival is, the different elements of the festival and what makes it different from going to see a play which is not running at a theatre festival. We also discussed the Project Arts Centre and its history.

After having some tasty pizza and further discussions, we headed over to the Project Arts Centre to see our first show of the weekend: Wishful Beginnings. This was a show that I think we can all safely say we will never forget! 

After the show we made our way back to the Marino Institute of Education whilst having intense post-show discussions as a group about Wishful Beginnings. This was by far the most interesting discussion I’ve had about a play as every single one of us had a different opinion. Some people loved it and some people hated. Not only that but everyone had their own ideas in regards to the themes explored in the show and how they were explored.

We returned to Marino and got ready for bed. Not one of us could cease to ponder on Wishful Beginnings.

Sat Oct 8th 2016

The next morning we had our second workshop where we discussed the history of the two most well known theatres in Ireland: The Abbey Theatre and The Gate Theatre. We talked about the nature of the plays they showcase and their target audience, as well as many other areas.

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In preparation for the Gate’s production of The Father by Florian Zeller. Photo Credit: Alan King


We would be going to see a play in the Gate that day. The play was called The Father. We discussed this play as well as our second play of the day: Alien Documentary, which was a piece of documentary theatre. This was something that I had never seen before.

After this, we went to see The Father. We also had the opportunity to meet with some of the stars of the show, Owen Roe, Fiona Bell and Peter Gaynor backstage. We had the chance to ask them some questions about the show. 

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Backstage at the Gate Theatre Dublin with the stars of The Father- Owen Roe, Fiona Bell and Peter Gaynor. Photo Credit: Alan King


We then had lunch in the NAYD offices. This was hugely interesting as we got to see the workplace of the people who are in charge of all youth drama across Ireland.

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The Young Critics got to visit the engine room of NAYD. Number Great Georges St. Dublin. Photo Credit: Alan King


Next it was off to the Jervis shopping centre for a quick spot of window-shopping and hot-chocolate drinking. It was then time for Alien Documentary. This was was being staged in the Project Arts Centre. When we got there I proceeded to take a quick trip to the toilet. As I was about entering the toilets, who did I meet? None other than PJ Gallagher himself. The famous Irish comedian and actor. He would be starring in Alien Documentary.

I will now be known by him as “that lad I met coming out of the jacks”!

When we got back to Marino, we all contributed eagerly to conversations on the plays we had seen that day. We also indulged in a few delicious chocolate treats to fuel our talks.

Sunday Oct 9th

On Sunday morning, we had one final workshop where we discussed each play we had seen and gave our opinions on them. We then prepared ourselves for our final Young Critics task: taking part in the  NAYD Young Critics Panel.

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Dr. Karen Fricker in discussion with Young Critics Pierce McNee and Jack Synnott. Photo Credit: Alan King

This was where we were split into groups based on which of the three plays we wished to speak about. I decided that that I would like to speak about The Father. We would be giving our opinions and discussing the play in front of an audience of roughly fifty people and Dr. Karen Fricker would chair the discussions.

First we participated in a mock panel with Karen in order to become familiar with what the proceedings would involve. I was slightly nervous but I knew that I would have my Young Critics colleagues as well as Karen and Alan there to support me.

We concluded the panel with an opportunity for audience members to ask us, the Young Critics, any questions they had regarding the plays we had seen or any element of the Young Critics experience.

As soon as the Q&A session ended, we all came to the realisation that our time on the NAYD Young Critics Programme had now finished. We all had an immensely melancholic feeling. However, we knew that we would all remain friends and chat regularly. We also knew that we would keep in contact with Alan King and the NAYD. Our time as NAYD Young Critics might have come to an end but our time as young critics outside of the programme had only just begun.

This has been a truly incredible experience for me. I would like to thank Alan King and Dr. Karen Fricker. As well as Debbie, Graham, Ciara and everyone at the NAYD for making the programme possible. I would recommend the NAYD Young Critics Programme to absolutely everyone.

Pierce McNee is a member of Dundalk Youth Theatre and was an NAYD Young Critic for 2016

Town is Dead – A Podcast Review by NAYD Young Critic Méabh Hennelly

Way back in June, NAYD Young Critic Méabh Hennelly took a visit to the Peacock Theatre to view Town is Dead by Philip McMahon.

In this podcast Méabh is joined by her friend Isabel Horner to cast their critical eye on Town is Dead.

CREDITS

Méabh is an NAYD Young Critic for 2016 and a member of Dublin Youth Theatre. 

Méabh was also a participant in NAYD’S Watching the NationOnStage and this review is also posted on Watching the NationOnStage Blog.

Wishful Beginnings Reviewed by NAYD Young Critic Emily McGee

The NAYD Young Critics came to Dublin from the 7th – 9th of October for the Dublin Theatre Festival. They attend three productions as part of the Festival. Here Young Critic Emily McGee reviews Verk Produksjoner’s Wishful Beginnings at Project Arts Centre.

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Wishful Beginnings . Photo Credit: http://verkproduksjoner.no/

Wishful Beginnings

Wishful Beginnings: undoubtedly a show with the power to start the revolution that our world today needs most.

Upon entering the theatre of the Project Arts Centre on the 7th of October 2016, the audience suddenly, with or without realising, became immersed in the concept that Verk Produksjoner placed before us. The first thing that you can’t help but notice is the towering plywood wall reaching from the floor upwards, seemingly with no end. This wall was placed at the front of the stage, leaving the actors with a stage approximately no more than two metres in width. Seemingly random costume and prop items lined the outer aisles, where the actors waited to begin.

Between the towering wall of the set, and being entirely surrounded by five actors in various stages of curious costumes, to an extent, the audience couldn’t help but feel somewhat enclosed within the space. This made a very bold and effective addition to the performance as it really aided in exposing the concept of the piece.

Wishful Beginnings is not your traditional piece of theatre, but that’s precisely what I loved most about it. It was more of a conceptual, contemporary, abstract piece of theatre. It took an in-depth look at our world and our society at this present moment in time, and explored through means of improvisation and symbolic or metaphorical scenes, what our future will look like if we continue as we are.

Verk Produksjoner touch on topics such as; fashion and popular culture, mental health and self-harm, industrialisation, LGBTQ+ rights, and animal cruelty. These topics were approached in a rather artful way by using metaphors and symbolism, truly advocating the “show, don’t tell” technique. However, as this technique was so well put to use that, on the surface, it almost seemed as though none of these topics were covered. It was only when the symbolism (ranging from the use of costume, prop, script, and lighting tools) became fully understood, did these topics, or “social issues” and the concept of the piece, become the plot.

 

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Wishful Beginnings. Photo Credit: http://verkproduksjoner.no/

The acting from all of the actors was to a very high standard. It was very natural and credible. Espen Klouman Hoiner, in one scene in particular, gave an outstanding, powerful and moving performance portraying a painful death. The performances overall were very impressive, especially so when taking into account that parts of the show were improvised. Despite this, the show flowed seamlessly, the improvised scenes becoming almost indistinguishable from the rehearsed, adding to the authenticity of the entire production.

Overall, Wishful Beginnings was a thoroughly enjoyable experience. It was truly a powerful and moving artwork. However, as enjoyable and powerful as I found it to be, I understand that this show is not suited to everybody, as it may be difficult for some to fully grasp the concept, and therefore, the “plot” of the piece. Wishful Beginnings is most definitely a show that I’m glad not to have missed.

Cast and Creative Team: 

With and by Fredrik Hannestad, Saila Hyttinen, Tilo Hahn,  Signe Becker, Solveig Laland Mohn,  Håkon Mathias Vassvik, Per Platou,  Anders Mossling, Espen Klouman  Høiner, Pernille Mogensen,  Camilla Eeg-Tverbakk,  Jon Refsdal Moe, Agnes Gry

Project Arts Centre  as part of Dublin Theatre Festival

Co-production by Black Box TeaterBIT-Teatergarasjen and Teaterhuset Avant Garden.

Emily McGee was a Young Critic for 2016 and a member of Kilkenny Youth Theatre 

Shakespeare’s Globe Taming Of The Shrew. Reviewed by NAYD Young Critic Pierce McNee

In the latest in our series of Young Critics reviews, Pierce McNee from Dundalk Youth Theatre traveled to London to see The Taming of the Shrew at Shakespeare’s Globe.

The Taming of the Shrew by William Shakespeare, directed by Caroline Byrne

Cast: Aoife Duffin, Amy Conroy, Louis Dempsey, Imogen Doel, Colm Gormley, Aaron Heffernan, Genevieve Hulme-Beaman, Raymond Keane, Gary Lilburn, Edward MacLiam and Helen Norton

Performed at Shakespeare’s Globe; reviewed on Monday, 18th July 2016

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Set against the backdrop of Dublin 1916, this is a classic play with an alternative twist, featuring an all-Irish cast. This choice of setting — one hundred years after the events that sparked Ireland’s drive towards independence — makes the staging of this production extremely significant. Katherine (Aoife Duffin) appears on the stage at the start of play and sings, passionately, an Irish ballad written by Morna Regan (dramaturg and lyricist) especially for the production. This firmly establishes the 1916 setting and showcases Duffin as a standout performer and a force to be reckoned with.

The Taming of the Shrew tells the story of two sisters, Katherine and Bianca. Bianca is intensely keen on being married off to a handsome suitor. Katherine has no ambitions to become attached to a man. There is one problem: Bianca cannot marry before Katherine, a.k.a. the shrew, is herself paired off.

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Going in, I was rather sceptical as to whether or not the production would cater for only an Irish audience, but it does not overly enforce the 1916 theme, which only becomes apparent on a few occasions. For example, a small fraction of the history is played out in the lyrics of Katherine’s two ballads. This make the theme subtly present throughout the performance but the production is kept grounded overall in the original story.

Caroline Byrne’s production is full of side-splitting antics whilst still exposing the serious and sometimes poignant aspects of the play. The misogynistic elements are portrayed with the earnest tone they deserve. The comedic facet is aided in particular by Aaron Heffernan as Lucentio, with his incredible physical comedy and natural wittiness.

Other notable performances include Edward MacLiam as Petruchio, who offers a truly gritty portrayal of the character. He brings an amazing sense of tension with Katherine and this really keeps the audience on the edge of their seats for the intense scenes between them. Helen Norton as Grumio plays her character with great jocularity but also sincerity in the more sombre scenes.

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The set, designed by Chiara Stephenson, starts with the traditional Globe stage design with its balcony and pillars. A large black structure is built into the opening at the upstage centre of the stage. This opens up at various points to reveal a staircase. At certain moments during the first half, the stage becomes a 1916 classroom as a prodigious abacus and an anatomical skeleton hurtle onto the stage. A pit of dirty water also appears at the downstage centre of the stage in which Katherine stands while singing one of her ballads.

The costumes, also in Stephenson’s more than capable hands, are eminently satisfactory and greatly fitting to the production. Many of the costumes are 1916-inspired with the women’s pieces heavily influenced by the Gibson Girl look. This also introduces the theme of women’s rights one hundred years ago and also in today’s society. The final speech, delivered by Katherine, allows us to reflect on how much has changed in terms of women’s rights since 1916, when women were so poorly treated.

Pierce is an NAYD Young Critic for 2016 and a member of Dundalk Youth Theatre in Co. Louth.

Come join Pierce and all our Young Critics on October 9th at 1pm at Project Arts Centre.  They will be critiquing three productions as part of Dublin Theatre Festival 2016. 

 

 

 

 

Invitation to a Journey. Reviewed by NAYD Young Critic Ciara Lummis

Invitation to a Journey

CoisCéim, Fishamble, Crash Ensemble & Galway International Arts Festival

Project Arts Centre, Temple Bar

Reviewed on 21 July 2016

€22 million – the figure Eileen Gray’s Dragon Chair sold for in 2009. That’s all most people know about her. This production uncovers a great deal more than this fact, exploring the personal encounters in Gray’s life and sharing the accomplishments of this Irish artist with the Irish public.

Invitation to a Journey explores Gray’s life in vivid detail, from her colourful relationship with Damia, her French lover (portrayed powerfully by Kate Brennan), to her innovative career as an architect and designer. It is a co-production of Fishamble: The New Play Company, CoisCéim Dance Theatre, the contemporary music group Crash Ensemble and Galway International Arts Festival, and is written and performed in a groundbreaking way. The roles of the three dancers, three actors, and four musicians are melded to the extent that in some scenes it is difficult to tell them apart, especially in one scene where Damia and the dancers fight over a chair, all essentially becoming dancers.

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Invitation to a Journey. Photo: Ros Kavanagh

 

The musicians wear costumes suited to the era and have their hair crimped in a ‘20s style, which connects them to the dancers in particular, as they have the same hairstyle. (In the interest of full disclosure, I will say that my mother Deirdre O’Leary was involved in this production as one of the musicians).

The show opens with the three dancers offering their interpretation of Gray’s architecture through movement. Half a dozen nine-foot-tall doors on either side of the stage are then flung open by the remaining cast members, which segues into the auction of the dragon chair. As the cast bid for the chair, Ingrid Craigie — the actor playing Eileen Gray — sits in a chair behind them and becomes fleetingly visible as the bidders exit the stage and the lights dim. Her presence becomes much stronger as the show progresses, although at times that presence is overshadowed by the sheer amount of things going on onstage.

Halfway through, the show enacts the construction of e.1027, the iconic house Gray designed for herself and her lover the Romanian architect Jean Badovici. String outlining the foundations is taped to the stage by one of the dancers as Gray struts around the stage carrying blueprints. Only shortly afterwards, Le Corbusier (played by Ronan Leahy) paints lewd murals on the pristine walls of e.1027, nude.

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In an era when most women were married off, Eileen Gray was openly bisexual, almost insanely driven, and creative. She was modern when it wasn’t mainstream and this show echoes that crazy creative determination that possessed her. While this show ambitiously melds the roles of dancer, actor and musician, it would be interesting to see what the difference in dynamic would be if the musicians had more dialogue with the rest of the cast and if Gray was more involved in scenes with the dancers. The mixture of concrete and abstract information presented through the different art forms gave a strong impression of someone’s personality. It seemed to be trying to express an inner creativity and drive that I now associate with Eileen Gray.

 

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Ciara is an NAYD Young Critic for 2016 and a member of Fracture/ Play Youth Theatre in Tipperary

Come join Ciara and all our Young Critics on October 9th at 1pm at Project Arts Centre.  They will be critiquing three productions as part of Dublin Theatre Festival 2016. 

Radiohead – An NAYD Young Critic’s Review of Glitch. Review by Louis Flanagan

As the Young Critics hit the stage of the Dublin Theatre Festival  on Oct 9th , we will publishing a series of written reviews from our Young Critics.  

In the first of our reviews Louis Flanagan from Droichead Youth Theatre reviews  Calipo Theatre Company’s production of Glitch by Martin Maguire

Glitch by Martin Maguire

Produced by Calipo Theatre Co.

Directed by Darren Thornton

Cast: Martin Maguire & Grainne Rafferty

Droichead Arts Centre

June 22nd- 24th  2016

Calipo Theatre Company’s return to theatreland has been a long time coming. Nearly five years after the success of Pineapple by Philip McMahon at the 2011 Drogheda Arts Festival, the troupe recently pounced back on our stages with a fresh and authentic piece of work called Glitch.

Time may have passed but the Calipo team remains as strong as ever, with director Darren Thornton – currently in the spotlight for his acclaimed feature film A Date For Mad Maryand writer/performer Martin Maguire reigniting a theatre partnership that stretches back almost twenty years.

Glitch has a simple plot – it follows the story of broadcaster Mike Adams (Maguire), whose drivetime radio show has dominated the landscape for nearly fifteen years but whose popularity is diminishing. Everything appears to be changing – the politics, the technology, the public opinion. The media has become increasingly fast-paced and suffocating and Mike is under fierce pressure to change as well.

Constantly in denial and trying to escape his commitments, Mike is faced with a crisis when Jesse (Grainne Rafferty) emerges – a bitter and stubborn caller, who ends up alone on the air with Adams, following a technical glitch. For rest of the piece, we see Mike and Jesse engage in a battle of wits. Amazingly, these two characters never come face-to-face, which Jesse positioning her battle station behind Maguire, which spends most of the performance downstage.

On paper, Glitch does not make a striking impression. However, this production was not only executed sharply but had an incredibly original and innovative design. Kieran McNulty’s set was spacious and vibrant, comprising of an orange desk and vertical fluorescent lights emerging from the polished, black floor.

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Martin Maguire in Glitch. Photo Credit: Calipo Theatre Company

While the set was imposing and eye-catching, it was the sound design by Jack Cawley which made the greatest impression. Cawley successfully compiled over fifty voiceovers to create an array of different characters, from frustrated callers to newscasters to the people prominent in Mike’s life. Despite just two actors onstage, the flawlessly executed sound design created the illusion that there were many more.

Glitch is Maguire’s first play in nearly ten years. In fulfilling the challenging task of being both writer and performer, Maguire’s nerves were evidently visible onstage on the night I saw the show, and his delivery was sometimes unclear and unsteady. However, he maintained an excellent chemistry with Rafferty, who herself gave a robust and fiery performance as a single mother caught up in the struggles and prejudices of modern Ireland.

Tough on the surface, through lengthy and passionate conversations both Maguire and Rafferty’s characters’ softer, weaker sides are revealed. Both are isolated and have problems, and both have continuously disappointed the people in their lives. Through some particularly heartfelt monologues, we learn about Mike’s relationship with his elderly parents and his father’s final hours alive.

Overall, Glitch was a highly enjoyable production. Thornton’s ability to make the audience become invested and engrossed in Mike and Jesse’s strained lives demonstrates his excellence as a director.

Louis is an NAYD Young Critic for 2016 and a member of Droichead Youth Theatre 

Come join Louis and all our Young Critics on October 9th at 1pm at Project Arts Centre.  They will be critiquing three productions as part of Dublin Theatre Festival 2016.