| Theatre and Gig Reviews THEATRE
REVIEW
The Alice Trilogy
By Grainne McLoughlin
Irish dramatist Tom Murphy, author of Famine, The Gigli Concert and The
Wake has offered in his new play The Alice Trilogy an in-depth look at the
psyche of an Irishwomen and the life she lives.
The audience is carefully taken through three ages of Alice, played by
Juliet Stevenson. We follow her from 1980 where in the murk of her attic
we see her losing her grip on reality, through to a decade later during
which she summons a lost love to meet her by the gasworks wall and eventually
to the present day as she sits at the airport lamenting the untimely death
of her son. But before the end Alice has something of an epiphany.
Throughout Murphy’s heroine is disturbed and deeply frustrated with the
emptiness of her life, turning to drink in her 20s.
Despite having three kids, and a well-to-do husband it soon becomes apparent
that all is not as well as it seems.
Her love of her husband is non-existent from the outset and the situation
fails to improve in the decades later.
In the second instalment of the Alice Trilogy we see the protagonist
go to meet an old boyfriend. But although outwardly successful and respected,
he reveals himself afflicted with a worse disposition than Alice.
But it’s in the final scene that we see Alice experience the worst and
ironically perhaps the best.
Sitting at the airport awaiting her son’s coffin to be flown home Alice
is entirely hopeless and unhappy.
But finally it’s through her compassion for another’s grief that she
— and the audience — experience a much-needed emotional release. Stevenson
— who finishes in tears — shows her true acting potential in this final
scene.
Heavy and sometimes depressing The Alice Trilogy portrays the suffering
of an Irish mind at its very worst.
Starring Stanley Townsend, Juliet Stevenson and Chistopher Patrick Nolan,
Alice Trilogy is showing at London’s Royal Court until December 10. For
tickets contact 020 7565 5000.
THEATRE PREVIEW
What’s In The Cat
By Grainne McLoughlin
As the saying goes, what’s in the cat is in the kitten. And there’s no
story which pertains more to that mantra than the semi-autobiographical
play What’s In The Cat from second-generation Irish playwright Linda Brogan.
London’s Royal Court Theatre is set to bring Brogan’s story to the stage.
What’s In The Cat, explores the world of its creator. Brogan’s character
— Lauren — falls pregnant at the age of 15. And in an interesting turn of
events, it’s the playwright’s own daughter — Rachel Brogan — who plays Lauren.
The production — which will run from December 7 until December 22 — is
set in the Manchester district of Moss Side in 1974 where dramatist Brogan
grew up.
The audience sees Lauren return home for Christmas dinner but she has
no intention of staying. The council have found her a school with a creche
so she can sit her exams.
Her father is not impressed as he reckons Lauren should stay at home
but her mother just thinks she should have kept her legs shut in the first
place.
What’s In The Cat explores the difficulties Brogan encountered while
growing up and how often history tends to repeat itself across the generations.
Brogan’s previous credits include Basil And Beattie, The Very Thought
of You and Ghost Town.
What’s In The Cat will run from December 7-22 at London’s Royal Court
Theatre Playhouse, Jerwood Theatre. For tickets and performance information
contact the box office on 020 75655000.
GIG REVIEW
Sinéad O’Connor Live at The Helix, Dublin
By Steve Cummins
Sinéad O’Connor hasn’t even taken to the stage and already controversy
has erupted. Advertised as an all-seated show, it’s now standing room only
in The Helix.
“At the request of the artist” the seats on the ground floor have been
folded away. Only now have some fans become aware that the seat they’ve
paid upwards of e40 for isn’t going to materialise. Understandably, the
sense of anger in the air is palpable.
Though quite why anyone would want to remain seated during O’Connor’s
first Dublin show since retirement is one thing. It’s especially questionable
given the fact that tonight she is backed by one of the all-time great rhythm
sections in Sly and Robbie. Either way by the time O’Connor takes to the
stage, what was a sold out show feels far less atmospheric than would ideally
have been the case. Many have availed of the full refund on offer.
It’s an ill judged move because, on every level but seating, O’Connor
and co deliver in buckets. Tonight’s reggae-fuelled set is funky, moving
and, above all, inspirational. Always a spiritual performer O’Connor’s new
role as preacher of all things Rasta is inspired and affecting. Rejuvenated
she wisely affects control over her vocal allowing it to slide within the
music rather than dominate. The lesson here is that less is more. Specifically,
it’s more for Sly and Robbie who use the space to showcase their particular
rhythmic expertise. Throughout they underpin O’Connor’s soulfulness with
subtle shifts in tempo, often to stunning effect, particularly on the wonderful
Vampire.
Inevitably, a reference to the Ferns Inquiry is made late on in the set
(Peter Tosh’s Down Pressor Man is dedicated to the diocese) but there is
as little hint of onstage controversy as there is material from her past.
Thankfully O’Connor seems content enough in the power of her music. That
alone is enough to join her in praising Jah. Let’s hope it continues.
|
