August 31, 2010
August 25, 2010
Mouth-to-Mouth by Olivier award-winning playwright Kevin Elyot is the latest production from Kildare’s Crooked House Theatre Company, which opened last night at the Cube in The Project Arts Centre. Running until the 4th of September it’s one of those bourgeois comedies that Noel Coward perfected, where everybody is dicking everybody else and secrets and lies, so obvious to all but those in the play itself, are disclosed with lashings of wit.
August 17, 2010
There is a lot at work in Sophie Motley’s upsetting yet remarkably rewarding production of Philip Ridley’s Vincent River. An exposition of the mother son relationship it’s a grief driven game of cat and mouse played by Anita (Eleanor Methven), a 53 year old single mother and Davey (Kerr Logan), the 17 year old youth who came across the body of her only child, “a butchered queer in a urinal”.
Using this hate crime as its starting point Ridley’s text takes us into the duplicitous world of the closeted homosexual and the unknowing parent, the lies and the liberation’s told, both torturous and tantalized, the underlying score to a destructive dance of denial. “Don’t ask me and I won’t tell you”.
August 11, 2010
Following the death of her son in a homophobic hate crime, Anita (Eleanor Methven) has been forced to leave her home because of her neighbors homophobia. A 17-year-old kid Davey (Kerr Logan) has been following her and in her desperation to find out why she opens her door and lets him in. We find out that he was somehow connected to her son’s murder, that he found the body. And Anita wants to know more. And more. And more.
Director Sophie Motley talks here to Caomhan Keane.
August 7, 2010
My heart skipped a beat when I first laid eyes on Dall’ Italiano, just past Hart’s Corner in Phibsboro. I know looks can be deceiving but this place was going to need a belter of a personality to make up for the uncomfortable looking furniture and bland black & white Italian pictures that stood in for decor.
The mother had heard great things but when I was brought a red wine instead of a rose and my starter, a rather mealy Bruschetta with salmon and ricotta cheese (€5.80) turned up 30 minutes after I ordered it you could say my nerves were tested. Mother loved her Parma Ham and Melon (€8.90) but her credibility was shot and I was preparing to write the whole affair off as an exercise in resisting matricide.
One bite into my Pollo Taormina (chicken, spinach & cheese wrapped in Pancetta and dripping in pesto- €13.90) terminated any debate as to whether mother knew best. It was what Belinda Carlisle’s been talking about. Similar apparitions had appeared on the paternal platter, her Tagilita di manzo (striploin beef sliced with grana cheese €1750) bringing about a state of fervor by what she had ingested.
We opted for the more traditional Italian desserts, the Sardinian Seadas and the Cassata Sicilian (both €5) washed down with the house red (the most expensive they had was only €23 a bottle) while the cheerful ambiance of the place infectiously wheedled out my aesthetic concerns.
Dall’ Italiano, Harts Corner, Glasnevin
Opening Hours: Open daily: 8.30am – 10.30,
01 830 2549
August 4, 2010
Slattery’s Sago Saga, a site specific piece from The Performance Corporation which ran recently at Rathfarnham Castle, was one part theatre of the absurd, one part state of the nation and one hell of an evening’s entertainment.
August 4, 2010
Arthur Miller’s classic diatribe against the capitalist system, anchored by a masterful performance from Harris Yulin, is given a competent, thorough if unengaging production at the Gate Theatre.
Directed by David Esbjornson, his occlusive approach emphasises the causes of Willie’s problems rather than the effect of his actions the ultimate result being a stimulation of thought over feeling.
August 4, 2010
There have certainly been worse shows this summer than Jimmy Fay’s take on The Colleen Bawn. There have been worse performances, weaker visions and less cohesive final products. But no other production has projected the smug sense of self-satisfaction that drips off Bedrock’s staging of this Dion Boucicault melodrama.
There is some nice imagery, a fabulous set from Alyson Cummins (Off Plan, No Escape) and a performance or two worth talking about (Michael Glenn Murphy’s Danny Mann, Ian-Lloyd-Anderson’s Father Tom). But it’s all pissed away in Irish theatre’s unyielding devotion to its love of laughter.
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August 4, 2010
IT STARTS as a buzzing noise in the distance. The heads of paddling children shoot skyward to search for a little black dot in the sky. At the nearby airfield, a fire truck taxis up and down the runway, sending rabbits and donkeys scattering, and an orange windsock flaps in the wind. The buzz becomes a growl, the growl becomes a roar, and a propeller-driven aircraft makes a perfect landing on Inis Oírr.
Air travel to the Aran Islands is 40 years old this month, as is Aer Arann, the company formed to make it possible. Electricity, post-primary education and industry all came to the islands as a result of the flights, along with hundreds of thousands of tourists. One hundred in 1969 became 14,000 in 1976. Now 25,000 tourists fly to the islands each year.