The bravest piece of programming by Fiach Mac Conghail since he doused the Abbey in Amyl Nitrate (via Alice in Funderland) and his most successful artistic achievement since Mary Raftery’s No Escape, Our Few and Evil Days is a masterpiece of ‘Don’t Move’ theatre. Afraid to flinch for fear you miss a breath loaded with meaning, Mark O Rowe’s new play has you by the bollocks for its entire second act.

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Gone Girl

October 28, 2014

Gillian Flynn’s novel Gone Girl contained a twist that had readers either throw the book across the room in a fit of pique or lap it up for all it’s bat shit bananas plotting. David Fincher’s movie has a separate twist in store for those lured in by the creepy, atmospheric trailer. No pulp thriller this, but a literal laugh out loud, black as soot comedy that satirizes the occasional misandry of some elements of the media when it comes to abuse, domestic or sexual. Think the Wayan Brothers spoofing Alfred Hitchcock while trolling the feminist sounding board Jezebel and you get an idea of what the final product is like. But is it any good?

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Spinning at Smock Alley

October 28, 2014

Conor is not the only one ‘spinning’ in this Jim Culleton helmed original play from Deirdre Kinahan. All the disparate elements seem to be slightly out of control in a production that is admirable, involving but ultimately un-fulfilling.

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Northern Soul

October 27, 2014

As half-formed and full on as a teenage romance, Northern Soul may prematurely ejaculate when it comes to its plot but it’s endearing enthusiasm for its subject makes it an enjoyable, if forgettable watch.

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Something’s gone awry in the transfer of the DruidMurphy double bill Brigit and Bailegangaire from the Mick Lally Theatre to the Olympia stage. The intimacy and immediacy I’d imagine were provided by the small Galway venue are lost in the cavernous playing space of a location best known for its rock gigs, and the soulful grace and piercing refrain of Murphy’s text is replaced by a performative drum solo.

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Hamlet at the BGET

October 4, 2014

The plays not really the thing, in Thomas Ostermeier’s Hamlet, which opened the Dublin Theatre Festival at the BGET last Thursday night. Rather it’s the titular Dane himself whose madness takes centre stage in this fast, furious and extremely funny take on the Bard’s most acclaimed work. Spoilt, fat and balding Lars Eidinger’s self-indulgent fits of insane indignation are the most marvellous end result of a society gone to shit, a non-stop rollover of excess, where beer is sprayed, guns fired and food drooled onto ones clothes as the Court of Caligula welcomes the vacuous self-appraisal of Andy Warhol’s factory.

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Reiltin at The Peacock

September 30, 2014

Writer/Director Paul Mercier leaves his ‘star’ adrift in this staged concert charting the duality between a young artist and her demonic stage persona. Better suited to a pub setting, but underdeveloped regardless, it has no characters, no clear plot and little direction as Cliona Ni Chiosáin spins about to a backing track of aped Britpop, keening over her failed love affairs with her music and with her man.

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Begorrah at Smock Alley

September 30, 2014

Most comedy acts are lucky if their show contains one uproarious laugh that unites the whole audience. This Irish troika are good for one per sketch, in a fifty-minute performance that’s greased with charm.

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Rushing off your tits, after ingesting the candyflip of Emmet Kirwan’s words and Ian Lloyd-Anderson’s performance, the heart, soul and yearning reverb of Dublin’s dancefloors will stick to you like a sweated-through t-shirt, in this wildly entertaining, touching two-hander.

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Magic in the Moonlight

September 20, 2014

Woody Allen is a bit like the Arsenal of movie making. He laces up each season, diligently delivering a new picture to compete with contenders old and new. But the strength of his attempts fluctuates year on year and rarely does he take the title of our heart back to back. Coming off the success of Blue Jasmine, his most recent film to be named ‘his greatest picture since Annie Hall’, hopes weren’t high for Magic in the Moonlight, a period romp set in the South of France where Colin Firth’s magician is enlisted to debunk Emma Stone’s medium before she makes off with the heart- and inheritance of a millionaire dullard.
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