The Red Curtain Review

There is poise and control as the well dressed woman walks in rolling an office chair in front of her. In the beginning it feels like she is conversing with us. As her story emerges, piece by piece, we realise that she is talking to a panel. The earlier sound of a large gate or door, sliding and locking back into position becomes clear. Through her words, as sparse as the setting itself, only a covered bench at the back of the black stage, she conjures up this past life, moving from her large family life in the country, to the headier heights of the racing enclosure with the women wearing high heels even thought they are walking on grass.

When her time is up, a different character emerges, pushing himself in on a similar chair, across the stage, revealing a more fidgety, worn looking man in a stained suit; very different from the elegance, even sophistication, of Tish, or Patricia. Harold seems more down at heel, but like Tish, he must tell his tale to the board - "or is it a panel?" - in his bid to be heard.

Kevin O'Connor's play is very intriguing. Through the two monologues he tells life stories, and they are delivered very well from Deirdre Seaver and Jim Roche, both drawing us in and commanding our attention. Seaver's Tish is a delight, her wry comments, her re-telling of intimate moments with men shows her cooler, more business side in this pitch perfect performance. O'Connor's language feels natural for the different tales and characters, and as director, the choice to keep it all simple is so right. The pool of white light compresses their area down, letting them use a small space and focusing our attention onto them without distraction. There is a feeling of Talking Heads at play and perhaps leaving it like that would, in the end, have been best.

The coda to it all, so to speak, is an ending of sorts, in tying the two together it feels more like trying to square the circle. It may not have mattered in the end, as here, O'Connor, with Seaver and Roche, has created two intriguing creations, that can charm, and alarm, no matter how much Tish smiles out at us. Both actors give well rounded performances, and mine the comic and serious moments in the play very well.

Like Tish, there is style and grace to it all, with nothing forced, only maybe the final scene, and yet it has the rougher styling of Harold too. It is one that draws you in with its sense of mystery, slowly unveiling its stories. There is also a wonderful sense of calm, nothing urgent, that it will all come out in good time. And the wonderful thing is that it does in this unexpected delight.

Runs until March 14th 2015

Venue: The New Theatre, Dublin

Cast: Tish - Deirdre Seaver, Harold - Jim Roche

Writer and Director: Kevin O'Connor
Photos courtesy of The New Theatre

"The sky is full of ghosts." Many places can be, including our dreams. But Katie McCann's new play is not a ghost story. It is a story about a brother and sister, Graham (Rex Ryan) and Hazel (Katie McCann), now adults, and a shared past experience that both of them face. A ghost of sorts. Here we get their story from two perspectives. This idea is achieved very well in both the writing and staging.

Entering the intimate Theatre Upstairs space is like entering a mist. Bars of lights cut through it and create shadowy outlines of the two figures, their heads down, standing perfectly still before us. Following a burst of bright light, dialogue flips between them both, overlapping a little. The senses being activated, as the visuals that almost surround the audience is in contrast to the protagonists remaining rooted to the spot for the duration; their bodies moving, leaning forward, waving, interacting, but there is no wandering. Their inner thoughts do that and show us the way. But they never converse, they are as separate from themselves as they are from the audience. The mist, lights, thoughts connect us all together.

Graham remained in the family home with his father, who has just died, leaving the house empty as their mother passed on some years back. Hazel feels she got her 'shit' together better, moving to the city, getting a job, and yet, in McCann's movement when we see her as the rest of the world does, there are hints of something else, the movement of the hand and arm, the turning of the head, subtle movements, as she tries to make her way in life and then back to the family home.

Ryan's Graham is a ball of knots, his face taut and tense, trying to be fine but not achieving it, underlying an awkwardness that is uncomfortable. Then there is that palpable sense of loneliness in Graham's eyes, delivery and stance. This is an excellent and sympathetic performance, the best of Ryan's that I have seen to date. You feel what he is feeling - what both are feeling - in this character driven play that looks at the inner and the outer.

This is realised by a combination of things: firstly there is McCann's writing, helped by some unexpected lines and dark humour, delivered in her wry, through-away style. Then there is Karl Shiels confident, character focused direction; shadows and light the order of the day against the telling gestures of Graham and Hazel.

Two characters, one history and two points of view, allow Laura Honan's train track set to be both functional and symbolic. Consistency in the visuals at this venue is as striking as the visuals themselves. There is also the underlying score by Derek Conaghy, not overpowering, but fitting in wonderfully to the tone and tale, while Eoghan Carrick's lights add to the shadowy effect throughout.

Character is at the heart of this work, while the sum of the parts adds to an impressive whole, one that grips you. There is an intensity to it, aided by the loneliness, but there is also sympathy. And two excellent performances.

Runs until: 21st March 2015

Cast and Creatives:

Katie McCann: HAZEL

Rex Ryan: GRAHAM

Venue: Theatre Upstairs

Writer: Katie McCann

Director: Karl Shiels

Set Design: Laura Honan

Lighting Design: Eoghan Carrick

Composer: Derek Conaghy

Visual Design: Ste Murray
Photos: Jeda de Bri

Producer: Megan O'Flynn

Production company: Illustrated Productions and Theatre Upstairs

A version of the Ted Talks' backdrop is projected onto the back wall of the stage in The Workmans Club, the arch itself surrounded by the traditional red curtain material. Onto it leaps Mick Connor, successful business man it seems, but he lacks one thing, someone with whom he can settle into a decent long term feud with. With this established, off Mick goes in search of 'The One' through a variety of misadventures, which really allows for the sketch style comedy to come into its own, with all parts being played by Liam Hourican and Jim Roche, including some impersonations of more real life people.

The idea is a good one, as they say. Flipping the notion of people getting on well on social media to that of people getting together to have a fight isn't really too far off the mark, when you think of social media and some of the comments that have been left. Coincidence maybe, but this is the same week Monica Lewinsky took to a TED stage to tell of her encounter with social media, and the effect comments had on her, and the more tragic effect it can have on people.

In many ways, Mick's idea is a more Fight Club, but this is all second place to the lurching from one moment to another, helped by video clips. What results is a lot of craziness that didn't seem to be firing on all cylinders, and lacked some energy and certainty in the beginning.

One of the best moments was the Gordon Ramsey sequence, this was when it all seemed to come together. Here Hourican, in a wonderful impersonation of Ramsey, brings his sights to bear on the Chef and his Kitchen Nightmares. But not all of the evening is of this calibre, despite the efforts of Hourican and Roche, under the direction of Tom Collinson. Here, an array of accents are on display, plus some dodgy looking vests, a reminder of Rab C Nesbitt, but there is a flatness to it all otherwise.

It was on at this venue for a one night only presentation, that took time to warm up. There is a lot that can be done with the topic, and at times it is there, but it missed the mark, leaving me with the feeling that more can be mined from it, both in terms of the Anti-Social Network, and the Gordon Ramsey idea.

Venue: The Workmans Club
Cast: Liam Hourican; Jim Roche
Writer: Liam Hourican
Director: Tom Collinson

Each movement of the day in the title is a monologue that seperately tells an individual story, but together they become an interconnecting one told from the view point of three characters: Niall, Danny and Gabby. The culmnination of the three in this run has grown over a period of time, with Morning being presented as part of Bloodties - a trilogy of one act plays, Afternoon was added to this for a run in the Project Arts and now Evening rounds it off, creating a full evening that is written, and performed by Andy Hinds, perhaps better known for directing on many different stages. In fact, Morning marked Hind's debut as an actor on stage.

Morning, which may be the strongest, introduces us to Niall, who tells us how his life has always been 'fine', from listening to Mozart growing up in Northern Ireland, to his current job, working as a librarian. From the first line and entrance he draws us in. His is a tale of longing, hope and pent up frustrations at his 'fine' life, delivered with care and skill by Hinds, using the lone chair on stage in front of a gathering storm backdrop as he navigates this lonely turning point in his life.

Loneliness is a theme that continues in Afternoon. Danny went to college, was proud that he did, but finds that as a Catholic in Northern Ireland there are no jobs for him as others with less, or no qualifications, are hired instead simply because they are not catholics. The scenario is stark, but the focus is Danny, who decides to leave and like Niall, has his own frustrations, which don't stay pent up, they come out, much to his own horror. There is a wonderful moment where he realises he simply 'wants to go home' excellently written and performed by Hinds, although more tightening up might be in order, which I have no doubt it will.

Afternoon is Gabby's tale of her relationship with Danny and Niall, and how the three all pull together, but again, like the two before, she is not so sure, there is a feeling of inadequacy, not worthy of pleasures life offers, fueled pehaps by her own disappointment in herself. Here Hinds, dressed simply in pink dressing gown, slipper and pyjama bottoms, moves between all three characters, unifying the piece and drawing the strands together.

Hinds tells the three stories very, very well, drawing us in from the beginning, using clear language, telling a non-linear story, words arriving to us as if thought of in that moment. The characters speak not to the audience but some one else, be it a wife or a dead mother, but not present to them. Although the result is the same, it gives it a more personal feeling, their own inner thoughts being voiced, in a very well written work from Hinds.

There isn't much humour in the piece, but it is a compelling, and interesting work, that focuses on loss, loneliness and longing. But there is also hope. It is acted very well in a convincing perfomance that the audience got behind and enjoyed. There is depth and skill involved making it worth taking a look at.

Runs until: 28th March
Venue: Viking Theatre
Writer and performer: Andy Hinds
Director: Colm Hefferon
Production Manager: Kerry Power

Hope is such a strong thing. It has a large part in Paula Vogel's play set in 1988. Because of it, Anna, a school teacher, who has been diagnosed with a terminal illness - ATD, caught from the toilet seat at her school - takes a trip to Europe with her gay brother Carl, a librarian from San Francisco, who wears his pink triangle. The trip to Europe is to look for a cure, but Anna is wondering why he has a toy bunny in tow, and who the mysterious Third Man is? There are a number of other mysterys in the play itself, all brought to light as the play unfolds, through a combination of comedy and compassion in this wonderful production of a funny and touching play.

Anna and Carl's journey starts in Baltimore and takes them across Europe, through France and Amsterdam, to Vienna. On the way Anna, goes through Elizabeth Kubler Ross's five stages of grief, something not so new, but pulled of very well by Niamh Denyer, who is able to play the wide eyed, broad comedy excellently, while also revealing the character's deeper, more personal undercurrents in an intimate way. As her trip continues, so does her encounters with many men, while also wondering why Carl brings his childhood bunny with him, and why another man has the exact same type.

Carl is played easily and confidently by Mike Kunze. While having comedy in his part, which he pulls off very well, in many ways, it is the others who bounce off him. All other parts are played excellently by Brian Higgins, who is able to transform himself between various roles, be it voice over, waiter, bell hop, Doctors or whoever else is needed, in a variety of accents too. There is a great phone conversation with Harry and Carl with a spy feel that works really well, and continued on, with a nod of course to The Third Man.

The whole production works very well, showing that a simple set and the right props, coupled with the right actors, means that the story and characters, and here, the comedy, all come to the fore, but never at the expense of the emotions underneath or the topics looked at in the play. Knowing it is 1988 and what was happening does help some of the understanding, but even so, the take of the health departments stance on ATD, still rings through in terms of the style and ideas of public announcements.

This is a wonderful production of Vogel's play, acted excellently, never over done, and giving the serious tones their space and due, while allowing us to laugh along the way, showing off some great comedy skills. Blue Heart Theatre call themselves an 'exciting new company' - which they are showing themselves to be - with collaborators from Ireland, the UK and the USA, wanting to present hidden gems. Well, they have presented one here, creating a little gem.

Runs until 4th April
Venue: The New Theatre
Writer: Paula Vogel
Cast: Anna - Niamh Denyer; Carl - Mike Kunze; The Third Man and all other parts - Brian Higgins
Director: Ayrton O'Brien
Scenographer: Emily Mahon
Producer: Sean Denyer
Production Company: Blue Heart Theatre

Mr. B, Samuel Beckett himself, does know how to make an entrance. Accompanied by lighting flashes, creaking doors, fog drifting slowly and dramatically across the stage, and of course the classic horror chords familiar from old movies, it is enough to make Vincent Price feel at home in the large coffin, in what is a wonderful, cheeky start to the evening. Directions Out first production uses a lot of styles in delivering Brian McAvera's take on the early life of Samuel Beckett, removing the reverential and looking back through his life, his version of events challenged by the ventriloquist's Dummy, who starts off slumped on one of two chairs, a cross on the back of each, wearing an Irish flag waistcoat.

The Dummy (Bryan Murray) seems to enjoy correcting Mr. B (Michael Bates), while Mr B seems to get frustrated by the Dummy; a metaphor there, no doubt. It is an amusing idea, putting Beckett forward as a vampire, a nod to modern times, perhaps. Vaudevillian ideas come to the fore, interspersed with silent movie movements and music, as the show rattles along, pausing to discuss moments in Beckett's life, looking at them for what they are and what they appear to be, showing that the man is perhaps more complex than the work.

Murray and Bates keep the momentum going with two well considered performances. Murray can be both the comedian, in the old vaudeville style - with proper bad puns; knowing that they are bad puns makes you smile more - or as a stronger corrector of Beckett's version of his own events. Bates as Mr. B, is nuanced, and a good foil to Murray's Dummy.

With excellent lighting by Conleth White, and perfectly atmospheric music (Conor Linehan) it keeps everything looking and feeling brighter. The stylings are delivered well, and with the right amount of fun, but perhaps at times could have been bigger and the vaudevillian, music hall and silent music style could have been used more.

It is an amusing and pleasant evening, intriguing being another word, and the mix of styles does help keep it moving along through the early life of Beckett. It isn't only for the Beckett buffs, or having previous knowledge of the man. It doesn't wear out its welcome thanks to Bates, Murray and the stylings from directors McAvera and Joe Devlin, although a bit shorter might result in something a bit sharper, stranger, zanier and pacy.

Runs until: 4th April (continuing on to other venues around Dublin)

Venue: The Civic Theatre
Writer: Brian McAvera
Cast: Mr. B - Michael Bates; Dummy - Bryan Murray
Directed by Brian McAvera and Joe Devlin
Set and construction: Philippa Kavanagh
Lighting: Conleth White
Music and Sound Design: Conor Linehan
Waist-coat designed and made by Caroline Butler
Photography: Ste Muray
Executive Director: Joe Devlin
Marketing: Directions Out Theatre Company
New Media by Sebastian Stephenson
Administration Support: Sarah-Jane O'Neill
Out-Reach Officer: Sinead Hackett
Prodution Company: Directions Out Theatre Company

A small pyramid of custard creams sit on one of the four symmetrically placed shelves, others hang from the ceiling nearer the front of the stage. This caught my eye before the many pint glasses did, arranged in rectangles at the four corners of the stage, all containing water but at different levels. This is mirrored by pages from the bible on the back wall. A cross form is left on the stage for Claire to move, this space, again, reflected on the back wall. Symmetry and reflection, faith, belief and filling a void are also present in this debut piece from writer, and actress, Ranae Von Meding, told with grace, a light touch, sympathy and beauty.

The opening lines, figures that terrify Claire, is immediate and stark. A bar of light across her neck pins her to the back wall in the centre of the cross. Her mother believes in the bible so much that her words of comfort are 'I'll pray for you'. She is a single mother with a number of kids making her way through life. The first void. Like anyone growing up, Claire questions this, and then finds her own likes - the feel of a religion in itself, helped by a graceful pose, background music that takes us from where we are to where Claire is, with white and cool blue lights, from Colm Eaton's design, glancing off the pint glasses. She is struggling with life itself, what people think of her and worse, what she thinks of herself in terms of what people think of her (if that makes sense). Another void. She reads definitions of bulimia and custard creams from the bible she carries around with her, another reflection like in the set.

There is much to this new play, with skillful direction from Steve Gunn, and while in other hands it might have come across as being something more typical, sentimental, angst ridden, the kind we see in most TV movies, here it isn't anything like that. There is an ease to it, in terms of Von Meding's performance and the way her own words come out, as well as an ease in tackling the subject matter, which is not to imply, or say, that it is not dealt with seriously, because it is. It is done in a personal, simple and direct way. This is what's happening to Claire, and she knows it, the vulnerability, and doubt that is palpable, in a perfectly judged performance from Von Meding.

Mother, May I? is impressive in a wonderfully understated way. It doesn't have to underline, or overemphasis anything, and it doesn't preach, or give sermon's. This is one person's experience laid out for us all, and it is so much the better for that. There is beauty and grace to this tale, delivered thoughtfully, and really takes us on a journey into the mind of Claire. I am sure there will be more writing from Von Meding, and I do hope this isn't the last we have seen of Mother, May I? either. It is very well done and will remain with you afterwards.

Runs until: 4th April 2015

Venue: Theatre Upstairs

Cast: Ranae Von Meding - Claire

Writer: Ranae Von Meding

Director: Steve Gunn

Set & Costume Design: Audrey Rooney

Lighting Design: Colm Eaton

Photography: Al Craig

Poster Design: Emma Jane Reilly

Stage Manager & Operator: Cein Sookram

Production Company: Timador Productions

What do you do when you find someone sleeping in your tent at a music festival? It's this moment that sets off writer and director Alice Lynch's play, Intentions. The word play of the title, against the actual meaning against the fact that they are, well, 'in tents' is an idea that crops up throughout. With humour, helped by some visual comedy, the reasons why each - Louise (Bernie O'Reilly), Emma (Catherine McKiernan Ryan) and Jenny (Aisling Soden) - have arrived in the camp site emerges. It also allows for a view of a music festival from an older perspective, rather than a younger view as put forward by last years Sex, Drugs and Tinned Ravioli.

At times 'less is more' and here we have a set of three 'one man' tents side by side, with camping seats, and a Mickey Mouse towel draped over one. It's early in the evening, by music festival standards anyway, ten o'clock at night, when Louise discovers the sleeping body of the girl in the tent (Erin Lynch). Between wondering what to do with the girl, and getting to know each other - bonding, I guess - their own stories come out. There are some visual gags on display as well, with Soden showing a good grasp of dry, wry humour, as well a good stage presence, something she will no doubt develop. All four take to the task well, creating distinct characters, including Lynch, in her professional debut.

It is a pleasant, unpretentious, evening, with some good humour, and quirky moments. From the beginning when Louise enters, wellies on, jacket open and tin in hand, you know it is a music festival, although the buying of bottles of wine at it does make me wonder about the types of musical festivals I have been going to, as such luxuries tend to be missing (the glass bottles, not the wine). Despite these few niggles, it moves along at a good pace, hindered perhaps by some flatter, more literal lines, in Lynch's script, alongside the good responses and humour.

Moogles as a group is somewhat different as well. Founded by Lynch, McKiernan Ryan and Deirdre O'Reilly, part of their being is to promote women's writing, particularly new writing, and encourage other women to write down their own stories as well, while also involving new people in their productions. To this end, from what is seen here, they are very successful - Erin Lynch is making her debut, as is Soden, and all acquit themselves well, while reminding us, thankfully, that there are many reasons for producing drama, theatre and the arts.

Runs until 11th April

Venue: Civic Theatre, Tallaght
Cast: Louise - Bernie O'Reilly; Emma - Catherine McKiernan Ryan; Jenny - Aisling Soden; Girl in Tent - Erin Lynch

Writer and Director: Alice Lynch
Lighting: Tom Madden
Production Company: Moogles Theatre Company
Photo courtesy of The Civic Theatre

The sun was shining out in Dublin today, and Peter Sheridan's new one man show made sure the rays of laughter were indoors as well. In his easy, laid back style, Sheridan looks at the idea of humour, and in particular Dublin humour, through a selection of stories, and examples of what he terms the 'Gaelic Brain', in what is a very funny and delightful afternoon. To put it simply: Sheridan has done it again, and there is little to dissappoint in his new show.

With his ease and delivery, Sheridan makes it all feel like we're a group of friends sitting down while he happens to remember a number of stories that are either very funny, or Sheridan has a knack of making them funny, or more usually, they're both. He moves from one idea to the next with skill, even regaling us with Finnegan's Wake, getting us to join in the chorus, and ending with a Cecil Sheridan song, as well as a few stories that include Becket and Behan, and a mention of Jewish humour and of course Woody Allen. The backdrop comes into play as well, showing the 'Gaelic Brain' in full, as well as Nelson's Column and the spire.

The Dublin humour, and Irish humour are there, including some nice nuggets of knowledge that help move it all along well, which the script does, reminding us of a Dublin past, as well as turn of phrase and style that is very much the present. Here he brushes up with politics, in a very subtle, yet funny way, and everything else that he can, but it is all very closely controlled and thought out.

Sheridan is on his usual top form, drawing from all his expereinces in theatre and outside it, as well as his own way of viewing the world. That makes it all sound very grand, but the reailty is that Are You Havin' A Laugh?! is a great way to spend lunchtime, in the hands of a great story teller and performer. It is part if the Dublin: One City, One Book month, and it is a fitting event for it. Treat yourself and go.

Runs until April 18th

Venue: Bewley's Cafe Theatre @ Powerscourt
Writer & Performer: Peter Sheridan
Producer: Sheila Sheridan
Script Consultant: Andy Murray
Lighting Design: Colm Maher
Marketing Design & PR: Beaten Track
Poster Design: Ste Murray

Following on from their last visit to Dublin with Twelfth Night, Purplecoat have returned, this time with a double bill in store. Last night was A Midsummer's Night Dream, transferring the action to the modern world of offices and sales, and the woods gets moved to the clubs and nightlife. Using a soundtrack that ranges from Hi Ho Silver Lining to Step's Tragedy and even Elvis's Are You Lonesome Tonight?, this delivers a bawdy, chaotic and highly visual ride through Shakespeare's play.

The tale of love, changes and, in this production, definitely disorder, unfolds where Hermia wants to marry Lysander, although this is not the preferred option, Demetrius is. Not wanting this, Hermia and Lysander elope. An impressive Helena hears of it and discusses whether to tell or not. They leave for the woods, or in this case, maybe helped by the opening act two video projected on the wall, they leave for the revelry of night clubs, where love juice can take on another meaning. There is a feeling of everything being a bit unclear in the beginning, but thankfully this sorts itself out.

Alongside this is the parallel fairy universe, with an excellent, if slightly off centre, Oberon, dressed something like Batman, gets Puck, dressed as Robin (a nice touch) to find the flower that when squeezed into the eye of a sleeping person, on waking will fall in love with the next thing they see. It is to teach Titania a lesson. But when the revelling real world people annoy Oberon, he gets Puck to squeeze the love potion into Demetrius's eyes as well, but Puck mixes them up and all manner of madness ensues.

The acting troupe of the piece, The Mechanicals, who take a few swings at actors in general through a quirky Bottom, play a solid and odd crew, with wonderful expressions from The Joiner, Snug, against a very flippant and breezy Quince. The final play within a play features a wonderful outlandish death scene by Bottom.

Purplecoat do like to swap roles and have women playing men's roles, a twist on Shakespeare time, but it works well here, without missing a beat. As a group they work very well together, and it must be remembered that on alternate nights of the run they will also be performing Hamlet, a big challenge for a young group.

It was somewhat manic in the beginning, clarity suffering a little, but there is a lot of physical comedy and moves on the raised stage of the Boy's School. Imagery with the wild costumes are great particularly with Lysander with a face full of canned cream. The first act ending with a pumping Steps, that felt a little bit like Mamma Mia, was perfect. The second act feels more solid than the first, the opening video setting the scene and then the chaos that ensues as a night of merriment goes too far and it all falls apart, leaving people a little broken, ends with a very touching moment from Hermia.

In all, it is a very bawdy night, that takes a little time to get on its feet, but when it does it is a very crazy and idiosyncratic ride that you are taken on. But it is great to see a young group taking on this challenge and doing it in their own unique way. It is most definitely a trip for the senses.

A Midsummer's Night Dream/Hamlet runs until 11th April (Plays run alternately but the cast remains the same)

Venue: Smock Alley
Production Company: Purplecoat Productions
Photo courtesy Purplecoat Productions

It's 1921 and Kerrigan's Vaudeville Troupe is still touring the country, setting up their tent in a field outside towns. On show is the Adonis, lifting the weights to the eager crowd, although he keeps missing his beat recently; 'there's no narrative to it anymore', Kerrigan tells him. In contrast, The Great Gustavo has his act honed, but is a bit restless. Then there is the narrator of the piece, known only as The Boy, who sees the acts one night and steals away with them, won over by the tent, the lights and vaudeville itself, seeing in it a place to belong. At the centre of the troupe is Kerrigan, a towering vaudevillian, who knows what the people want and how to deliver. But times are changing in Ireland, and attitudes too, forming the landscape in Gerard Adlum's debut play.

The boy is more descriptive in his narration, with Adlum himself moving between the boy and the remaining characters through a change in accent or pose, his likability always there. In monologue or dialogue, Kerrigan has a presence that rises above everyone else, the 'heart' of the troupe as he says himself, and the heart of Adlum's play. From his entrance in a long, dark coat, complete with hat, to the singing of a vaudeville style song, written by Adlum and Nessa Matthews that captures the style well, with a delivery that has a hint of Jolsen, to a simple glance or stare, no matter what is happening your eyes are drawn to Kerrigan.

Stephen Brennan's Kerrigan is superb. The authority and presence is brilliant. He doesn't want to know his acts' back stories, perhaps because he doesn't want his own story told. With every movement, pattern of speech, the checking into the wings as he introduces the act, it is a masterful and knowing performance. There was the feeling that Kerrigan as a character in this actors hands has a life beyond this one act play. Adlum, playing alongside, moves between characters very well, but Brennan steals the show, something Kerrigan himself might approve of.

All of this is played on a tent stage setting, the curtains draped across the back-wall, bunting hanging in front of it, and a paraphernalia of suitcases, the Adonis's barbell, and other items, fill it up. Gold, shell like footlights finish it off, and we know this is a theatre past, music hall even. Vaudeville itself. The production is something of a nod to it, a time past, but looked on with affection. Director Sarah Finlay moves us from on stage to off in simple ways, such as a walk around a case, or a change in lighting angle.

Kerrigan is the heart and soul of this play, as the lights dim and he tries to fit into changing times, brought to life with skill and depth by Stephan Brennan. The narration moves at a steady pace, a gentleness to it all as it gives a nostalgic glimpse into a bygone day, when Vaudeville was the entertainment, before times changed. An interesting new play, with Brennan's Kerrigan truly the heart and soul of it all.

Runs until 18th April

Venue: Theatre Upstairs

Cast and Creatives:

Stephen Brennan - KERRIGAN

Gerard Adlum - THE BOY

Writer: Gerard Adlum

Director: Sarah Finlay

Set Design: Rebekka Duffy

Sound Design: Paul Farrell
Lighting Design: Eoghan Carrick

Original Songs: Gerard Adlum & Nessa Matthews

Visual Design and Photos: Ste Murray

Production Company: Fast Intent

It's Belfast, 1970, with two boys at play: Mojo and Mickybo. They live on different streets, and following a visit to the cinema to see Butch Cassidy and The Sundance Kid, their imaginations are caught and fingers become guns. This is their world, but have to keep on eye out for 'Fuck Face and Gank the Wank', not to mention Ripsyourballs. But while they play, the adult world is having troubles of their own, personal and political, where soon the word 'troubles' will take on a different meaning. Owen McCafferty focuses on the boys world of play and imagination, but subtly shows us the world that surrounds them in all its crazyness and ugliness in On Q Theatre Company's production.

In this two handed play, the two actors play the other roles, creating them with a pose, stance or accent, be they adults, parents or other kids. There is a sense of caricature in some instances, but then at one point O'Rourke must bounce between two spots to take on the remarks of the smoking women that Mojo interacts with, and who feel there are a lot of cowboys around. The turns of phrases are wonderful and truly evokes that stage of growing up and what was important, and the things we probably didn't see at that age. There are wonderful moments: the cinema workers, going for the 'header' record and arguing over who wants to be Butch.

Paul Cullen (Mojo) brings a lot of charm to Mojo, giving him a feeling of being younger than Mickybo, played by Brian O'Rourke. Cullen's drunk father impression, who wants to 'fuck off to Austrialia', is particularly good and held back. The style of delivery of the narrator feels larger than life, like the voice over on a movie only not so serious. As they move around and scale the two level box in the centre of the stage, with 'Brit's Out' and 'No Surrender' spray painted on it alongside a poster for the film, their lives are played out, with the large set piece never getting in the way of the action or actors, always lit well by Ciaran Cullen's design, particularly the blood red of the fire, under the direction of Carol Ryan.

On the night, the energy felt a bit down as the duo started, but as the evening progressed it took off more. What it does show, and the actors conveyed well, was that sense of innocence when growing up, the adult world something that you interact with, but not as important. But with time and the divide, it is clear that all will not remain as innocent, as the language and names change, the violence creeps in, bringing Mojo and Mickybo into a changed world and allegiances.

Runs until 18th April

Venue: Civic Theatre, Tallaght
Cast: Mojo - Paul Cullen; Mickybo - Brian O'Rourke
Writer: Owen McCafferty
Director: Carol Ryan
Sound and Lighting Design: Ciaran Cullen
Lighting Operator: Jim Keegan
Production Company: On Q Theatre Co.
Photo Courtesy of The Civic Theatre

A foosball table bought at Argos that includes a number of other games, is the centre piece around which Niamh and Oisin's lives, feelings and finances, are laid bare. It's been bought for their son's seventh birthday, not the cheaper one, but the bigger one, although, as Niamh seems to lament, was bought in Argos of all places. But money is tight for the couple, with having to borrow from the brother, something Niamh finds out, while waiting for the money to come in from one of the few event management jobs that are on offer. This is the reason Oisin is considering taking a nine month job in Birmingham. Their past lives, the present, the hidden and what will happen in the future, is played out against a lack of money and the idea of what happiness is, working its way out through a series of games and conversations, the prize for the winner is who chooses the next step, in this Irish Times Theatre Award winner for best new play last year.

Gavin Kostick's premise is straight forward, focusing on the people and the situation they find themselves in. The language is always real, and delivered finely, with the drama ratcheting up in tandem with their thoughts, fears and lives unravelling, or rather, being exposed. Oisin is played very well by Aonghus Og McAnally, a man who keeps things in, not telling Niamh everything, a very Irish man you could say, but allowing the situation to expose the doubt, anger and stress, hopes, fears and reality. Lorna Quinn's Niamh has a more carefree attitude to begin with, but under this surface are her own doubts and fears, the lengths a lack of money will push them towards, or is it something more fundamental at play, and is a good counter to McAnally. The strained couple and their issues comes over very well, at times making you forget the fact that this is set in an austerity era, and it is the strength of the work. It does at times fall into the trap of preach-style lines about the crash, and those involved in it, while briefly the notion of was the 'mortgage sold or bought' rises; or the question as to what is corruption is asked, while Oisin cheats at various games.

At the heart though is the question of what is happiness, and what can bring it about, or end it. For Oisin and Niamh there is that sense of a fall from grace as the idea of buying the present from Argos comes over as having really sunk, or ending up buying crappy Tesco own branded pizza and even living in Drumcondra, which has no doubt landed them in negative equity. And when they talk of money, the talk is of 'his' or 'her' money, or accounts, a separateness at play. Everything gets in the way of reaching out for their own happiness, and perhaps even when money was flowing, there was a sense of this unhappiness, but covered over easier.

Linking it to the Celtic myth of Tir na Nog, with another Oisin and Niamh, does give the idea that looking back to a happier, or seemingly happier, past is one thing. But the idea of stepping foot back into it can be a different reality. We can't be forever young, and the reality of the home and children is beyond the 'happily ever after', the place Lapine and Sondheim take us to in Into The Woods, the harsher second act after the bouncy first.

It is a one act piece that doesn't feel like it's seventy minutes, that has a smoothness to it under the direction of Bryan Burroughs, with effective lighting throughout. It is a good, solid production and will keep you engaged throughout the performance.

Runs until: 25th April (continuing on a national tour)

Writer: Gavin Kostick
Director: Bryan Burroughs
Production Company: Rise Productions
Venue: The Civic Theatre, Tallaght
Photo coutesy of The Civic Theatre

Ann Matthews returns to the same decade as Lockout 1913. This time it's 1917, and Constance Markievicz is on trial for allegedly shooting unarmed Police Constable Lahiff on the Easter Monday of 1916, during her involvement with the rising. This is a simple courtroom setting, the prosecutor's table, the dock and de Markievicz's table and notebook, that allows for a 'what happened on the day' approach as witnesses are brought out and give their version of events, as well as taking a rounded look at Madame de Markievizc.

Being a member of the Gore-Booth family of Lissadell House in Sligo, she let go of her Anglo-Irish background, taking up with the nationalistic movement. She was involved in politics, known to be comfortable and to work with the poor of Dublin, as well as marrying a count. Matthews' play allows us a look back and through her life, in an attempt to move beyond the 'icon' that she is known by, and delve into her as a person, looking at the fact and the myth.

Here, Madame is a strong presence, showing authority in voice and stance, brought to life by Barbara Dempsey with an earnestness and responsibility to the cause. She talks directly to the audience in a style that takes her out of the courtroom, as if not relying on the 'records' to communicate her thoughts and feelings of the proceedings she finds herself a part of.

Neill Fleming's William May, the only fictional character in the piece, has a booming questioning style, that comes out quickly, clipped and clear, showing his own authority in this environment. The questions and comments allows for the focus to be sharp and to keep the pace moving, which it does throughout, balancing the facts with courtroom drama.

The remainder of the cast are as strong, creating characters that also allows for some wry humour, such as Ian Meehan's William O'Brien, demonstrating the strength and confidence of de Markievicz alongside his rolling eyes style replies, and Amy O'Dwyer's Margaret Skinnider, who like many in today's world, writes a book on her own experiences but how much is truth? O'Dwyer as Skinnider is a transformation from her first role in the play, that of Helena Mollony, creating two very distinctive characters. Andrea Kelly as Dr. Kathleen Lynn and Mrs Lahiff, mother of the slain man, pulls of another good transformation. Siofra O'Meara as the nurse who has issues with the image of Madam rounds off what is a solid and strong cast.

Dempsey's final speech as de Markievicz is very stirring, aided here, and throughout, by Cathy O'Carroll's lighting design. Direction is by Anthony Fox, keeping a tight rein on proceedings, and while there are a lot of facts and this is about real events and people, it never forgets to maintain a drama, and the idea of what happened, alongside looking deeper into the main character, and the involvement of women in the rising. It is all kept together solidly, in what is an engaging and enlightening, well acted work.

Runs until 2nd May 2015

Cast:

Barbara Dempsey

Neill Fleming

Andrea Kelly

Amy O'Dwyer

Ian Meehan

Síofra O'Meara

Directed by Anthony Fox

Lighting Design by Cathy O'Carroll

Set Design by Martin Cahill

Sound Design by Shane Fitzmaurice

Costume Design Jessica Dunne

Stage Management by Céin Sookram

Venue - The New Theatre

Photos courtesy of The New Theatre

A lone jacket is lying, a little crumpled, in the middle of the space as the audience take their seats. Apart from two chairs there is nothing else on view in Good Dog Theatre's Irish Premiere of Canadian writer Daniel MacIvor's play. It is a play within a play, or could that be even more layered, as three stories are woven through the evening: a dying man making plans, a gay couple trying to make it work, and a writer trying to create a play. Here the audience are part of it, as questions about the meaning of a speech or what a character represents, brings us in and out of these stories and lives, in this wonderful evening of theatre.

There is a naturalness to the play and this production. Less is more as they say, and here it is put to great effect. The language being delivered at times feels as if it is being thought up there and then, not really certain of what the next line is, adding to a strong theatricality in the evening. Of course, the idea of not knowing, a lack of control, or trying to keep control, among the randomness of 'anything can happen' is written into the DNA of the play. It makes for an intriguing evening, and despite the ideas and themes, there is a very light touch to it, nothing forced or heavy handed here as life, art, chance and the unknown all plays a part.

Owen Martin and Brian Burns take on the differing roles, but not in any formal way; they both play the same characters at different times, or at different tries. Both put in great performances, playing off each other so well; Martin being more relaxed against the more self conscious Burns, a classic double act. And there is that wonderful dance routine to Lesley Gore's bouncy 1965 song Sunshine, Lollipops and Rainbows. There is much to make you think and much to make you smile.

Everything comes together so well, the performances, the style, John Neville's subtle sound design, never letting the background soundtrack come near to overpowering the dialogue, letting it crank up only when needed, while Susie Cummins' lights move from bright, when pulling us outside the stories, and through a wonderfully relevant palette, enhancing the moments. All of this is directed with care and attention, warmth, and of course skill, by Tracy Martin. It all looks effortless.

There is much to be admired in this production, delivered finely, and with a beauty to it all, nothing forced, as if we all turned up to this place and Burns and Martin decided on a whim to put this on. But of course they didn't and the 'less is more' style makes the whole evening sublime, brilliant, beautiful and both funny and sad. You will leave humming that catchy tune at the end. It's been sunny all week, and you can keep that beauty and sunshine going by paying a visit to this truly wonderful one act play from this up and coming group. They will be back, I have no doubt.

Runs until 25th April 2015

Cast: Brian Burns & Owen Martin

Writer: Daniel MacIvor
Director: Tracy Martin
Producers: Brian Burns; Owen Martin]
Sound: John Neville
Lighting Designer: Susie Cummins
Photography: Yvonne Kelly
Video: Sophie Bonheim
Production Company: Good Dog Theatre
Venue: Smock Alley

Eddie is the only person in the bar. Even the barman can't be seen, more interested in the horses 'that are still running', Eddie tells us. Eddie could turn the place into a goldmine, but then himself and his partner Val had big plans as well - 'Valentine's Steaks and Suds'. The perfect place was found, it was all ready to go, when a visit to a chipper, and a kiss, changed everything, leaving Eddie a lost and lonely figure in Direction's Out second production since forming this year.

Eddie's tale is told in a soft spoken manner, but a slight detachment from the world is in his eyes, with Phillipa Kavanagh's empty bar set adding to this. People come in later in the day, while he drives his taxi looking for 'people who need a lift home'. Griffin's performance as Eddie is very well considered and well timed, making us believe totally in Eddie and his terrible situation, a space between life and disbelief, where any traumatic event might lead us to, with Eddie noting that there are a lot of 'if only's' as well, and as Jim Steinman wrote, those words can be 'the loneliest words you'll ever know'. Murphy's language is natural and conversational, tappping into this sense of loss and loneliness, but he never simply describes events, his character relates them to us, while gradually unveiling what did happen that night.

Murphy conjures up the Dublin of today through Eddie's tale, making it all immediate. In looking at the life and love of Eddie, a gay man, Murphy does it in a straight forward way. Being performed during the referendum on Marriage Equality, it doesn't use this in anyway, but it still resonates. It would, however, have the same strength performed at any time. It's power is the way it deals with issues without making a direct statement, letting the events and people speak for themselves, and they do.

Directed by Joe Devlin, everything unfolds at a good pace, despite the inherent sadness and pain of the tale itself, although there are pockets of humour, even allowing a moment when the stage is bare as Eddie goes outside, letting us hear the silence and emptiness for ourselves. This is a poignant piece and very well written, with a well judged and excellent performance from Griffin that lets the character and story speak for themselves, and to all of us. An understated, thoughtful and haunting one act play.

Runs until 2nd May 2015

Writer: Jimmy Murphy
Cast: Luke Griffin - Eddie
Director: Joe Devlin
Set, Lighting and Sound Design: Phillipa Kavanagh
Photography: Ste Murray
Production Company: Directions Out

Venue: Theatre Upstairs

We never learn the names of the two characters who meet on the upper class deck of the Empress of Patagonia cruise ship. The man is a travel writer for the 'Marco Polo Series of Chatty Guide books'; the woman a young phone operator who talks to the man, although his main concern is his writing, without having 'two thousand words a day I am bankrupt'. Despite this plea and his disgruntled manner, the woman persists in this first scene, or conversation, of Bernard Shaw's witty, and sparkling, take on class, love and marriage, with a touch of the breeze of changing times, when a village shop assistant can win money and blow it all taking a cruise around the world.

The action moves from the cruise ship to the village shop with a simple up-righting of the ship set, the production designed wonderfully by Andrew Murray, converting the ship deck to the old style, long lost village shop, put together simply, creatively and with loving detail. Rebecca Grimes' phone operator delightfully captures the bright and breezy feeling of being in sunny lands on a ship, something she doesn't drop throughout her performance, enhancing it even when back on the dry land of the village. While there is this brightness, there is also a cleverness to her character as well, in a knowing and wonderful performance from the writer and actor of Mavericks.

Elliot Moriarty plays the upper class writer, who describes himself as 'not being everyman'. His voyage is work based, not enjoyment, the latter seemingly not on his radar much as this widower comes over as more fussy and uncertain than anything else. So much so that to escape the shop assistant - she corrects him when he calls her a shop girl - he wants to move his chair to another part of the ship. When he arrives in the village he doesn't remember her, but of course, this smart woman remembers him.

This is a bright, breezy production, directed by Michael James Ford, showcasing the wit and sparkle of Shaw's dialogue, shining as much as the sun over the ship, alongside Grimes' winning performance. It is a delightful way to spend an evening as Shaw navigates love, society and people in the way he only can. It first surfaced in 1934 and it still remains a wonderful one act play, brought to life delightfully in this simple, direct and smart production that is a real treat.

Runs until: 2nd May 2015

Writer: George Bernard Shaw
Cast: Elliot Moriarty and Rebecca Grimes
Director: Michael James Ford
Designer: Andrew Murray
Produced by Bewley's Cafe Theatre and The Dolmen Theatre
Photos courtesy The Dolmen Theatre

Venue: The Dolmen Theatre

Being greeted outside the door of the theatre by a man in a grandfather shirt asking about horses was a little bit different and unexpected. As it turned out, there were other characters pottering about the foyer, one giving out a sepia copy of The Carlow Sentinel, which is a programme of sorts, outlining each of the eight characters, complete with photos, and a piece from the Kilkenny Journal of 1835 of the day Lucinda Sly (Marion Brophy) and John Dempsey (Stephen Casey-Bracken) were both, as it put it, 'launched into eternity', in what turned out to be the last public hanging of a woman. John MacKenna's play is about real people, a reimagining of the events using trial transcripts as a base, taking us into Carlow of 1834 and 1835, and dealing with marital rape and domestic abuse, as well as land and lust, being graphic but not sensationalist.

There is an earthiness to the work, directed by MacKenna as well (who also plays three other roles), with a Hired Man feel of people living and working on the land. Lucinda Sly is played well by Brophy, an underlying strength, but showing a woman trapped in ever worsening circumstances, after William Sly moves from being a charmer with wandering hands, to drinking, and then a controlling, violent, disgusting brute. Tom McGrath brings this character along the path very well, in a strong and at times frightening performance, as he maintains control well. In fact, it is a strong cast that ground their characters, even if at times the quality in performances and direction doesn't extend to the costumes, which are a little bit of a mismatch.

The characters rarely leave the stage, but rather sit still, or move facing the back while other scenes continue. The space is filled by wooden boxes and crates that become tables, chairs, walls, or whatever is needed of them, the movement of the pieces worked very well, and smoothly. There is also an audio aspect to it, with wooden boxes hitting the ground, and the sound of voices in a crowd at the beginning. The pace is steady, and while, thanks to Lucinda's opening address, and the Sentinel, we know where it is going, there is a dramatic arc moving to a climax, but it is a slow burner in that effect.

It does draw you in and there is grit to the play that tells this imagined version of a real story well and directly, that is both affecting and disturbing. It is an interesting and mostly well delivered piece, that treats the subject matter with respect but without pulling punches. It is quite self contained and uses the small space with skill, never once feeling cluttered despite the larger cast. Although, the purpose of having the characters wandering the foyer before hand, meeting and greeting, is somewhat more of a mystery.

Runs until 2nd May 2015

Written and Directed by John MacKenna

Lighting Design: Paul Winters
Stage Manager: Mairenn Jacques
Set Construction: Tony Cardiff
Production Company: Mend & Makedo Theatre Co.
Venue: The Civic Theatre, Tallaght

'Being Norwegian', 'Castrati', 'The Further Adventures of....'& 'Stella Full of Storms' all playing this May in Dublin

It's May and there is a lot of theatre coming up this month, including the Dublin Dance Festival and the Dublin Gay Theatre Festival. With that in mind, here's a quick rundown of what's on right now and what's coming soon...

The Abbey

What's On: Hedder Gabler by Henrik Ibsen in a new version by Mark O'Rowe runs until May 16.

What's Next: On The Peacock stage from 11-15 May is Deadly by Paddy Cuneen.

On The Abbey stage as part of the Dublin Dance Festival:

Built to Last from 19-20 May from Meg Stuart/Damaged Goods

The Liz Roche Dance Company with Bastard Amber on the main stage from 25-26 May

La Edad De Oro from Israel Galván from 28-30 May.

Theatre Upstairs

What's On: The Rehearsed Readings run from 5 - 16 May. The plays are:

Quartet by Marina Carr, 5-7 May

Ceasefire Soldiers by Jimmy Murphy, 8-9 May

Fogarty by Karl Shiels, 12-14 May

A Collection of Mini Plays by Lee Coffey, Kate Gilmore, Keith James Walker, Finbarr Doyle and Jeda de Brí. 15-16 May

What's Next: Puruvian Voodoo by Lee Coffey from 19-30 May presented by Bitter Like a Lemon Productions.

The Gate Theatre

What's On: Romeo and Juliet by William Shakespeare runs until May 16th.

What's Next: The Gigli Concert by Tom Murphy previews from May 21st and opens on May 26th until June 27th

The New Theatre

What's On: The James Connolly Festival runs from 4-9 May with a variety of offerings from poetry, music, Theatre and Debate.

What's Next: Má Thagann Tú runs previews May 11th and opens from 12-16 May

The Gaiety

What's On: John B Keane's The Field runs until May 30th.

What's Next: One Night In Istanbul by Nicki Alt runs from 2 - 6 June.

Bewley's Cafe Theatre (@ Powerscourt)

What's On: Being Norwegian by David Grieg runs from 5 - 30 May, presented by Theatre Upstairs, The Cup Theatre Company and Bewley's Cafe Theatre.

The Bord Gais Energy Theatre

What's on: To Kill A Mocking Bird runs from 4-9 May.

What's Next: Chris De Burgh is in concert on May 6.

Calamity Jane runs from 19-23 May.

Viking Theatre

What's On: His Fair Ladies is written and performed by Des Keogh until May 9th.

What's Next: John Colleary & Patrick McDonnell are on May 3.

Port Authority by Conor McPherson runs from 13-20 May.

Civic Theatre

What's On: Aprés Match comes in for one night on May 6th

What's On Next: Frank Pig Says Hello runs from 7-9 May.

Battle stations runs from 7-9 May in The Loose End.

My Second Self is on from 11-16 May on The Loose End stage.

Maeve's House is on from 14-16 May.

A Man of No Importance a musical is presented by The Performance Department of Liberties College.

Smock Alley

What's On: International Literature Festival of Dublin 2015 will hold a number of events here.

What's Next: Eight Women by Robert Thomas runs from 27-30 May.

The Project Arts Centre

What's On: Before Monstors Were Made runs until May 16th.

Little Thing, Big Thing runs from May 5-16

What's Next: Dublin Dance Festival 2015 will run a number of performances between the 20-30 May

The Dolmen Theatre

What's On: Bardot Bites runs from 11-23 May

What's Next: Morning, Evening and Afternoon runs from 25th May - 6th June

International Dublin Gay Theatre Festival 4th - 17th May

Bird written and performed by Marnitz van Deventer at The Outhouse, Chapel Street 4-9 May

I'm Going Through Something or Before I Speak With Putin presented by Dean Kriel, 4-9 May

The Further Adventures of.... by Kathleen Warnock presented by TOSOS at The Players Theatre, Trinity College, 4-9 May

Castrati: An Electro Drag Opera presented by Theatre Outré at The Teachers' Club 5-9 May

The Astonished Heart by Noel Coward at Players Theatre, Trinity College, 11-16 May

First Day Back presented by Ten Foot Pole Theatre at The Outhouse, Chapel Street, 11-16 May

The Equals a new comedy with songs presented by Acting Out at The Teachers' Club, 11-16 May

St Joan by Julia Pascal presented by Add2 Productions Ltd at the Players Theatre, Trinity College, 11-16 May
Stella Full of Stormsby Kate Gilmore, presented by The Cup Theatre Company at The Cobalt Cafe, 11-16 May

Blind Date by Colette Cullen presented by Home You Go Productions at The Outhouse, 12 May

There is so much going on that I probably have missed something, if so, let me know and I would love to include it (with a poster or picture as well).

If you have any info on upcoming shows in the near or distant future, send me the details (or if you want me to take a look at it and review it :) ).

In the meantime, enjoy all the great theatre.

Photo credits: Being Norweigian photo courtesy of Theatre Upstairs; Further Adventures of .... photo by Katrina del Mar; Castrati photo coutresy of Richie Wilcox; Stella Full of Storms photo courtesy of The Cup Theatre Company

When Des Keogh's George Bernard Shaw enters it is the iconic version of this playwright, journalist and critic, amongst other things, that we see: the immaculate brown, tweed suit, the white beard, and a genial wit, all supported by a cane as he takes centre stage of a public meeting hall somewhere in Ireland in the late 1940s. This Bernard Shaw is in the latter days of his life, and his topic is 'his favourite topic': himself. Here though, it is told through the many ladies he loved or had eyes for. It is a charming, witty and interesting work, devised and performed by Keogh himself.

The talk, or audience, with Bernard Shaw takes place against Jim Queally's period set, the back wall hidden by an large wooden dressing type screen that has the benefit of being lit from the back by Moyra D'Arcy. A small writing desk, from where Bernard Shaw reads some of his hand written letters, accompanies a chair, and a chez lounge finishes it all off. It captures the time well, and gives Keogh three points from which to deliver his version of Bernard Shaw.

George Bernard Shaw liked to dabble in many things as his output suggests, including being a political activist, member of the Fabian Society, vegetarian and teetotaller. He also liked actresses and dancers, including Helen Terry, who he only met many years later following the exchanging of numerous letters. Keogh captures a glint in the eye as Bernard Shaw, matter of factly, in a Henry Higgins way, conveys the ups and downs of his marriages and affairs through the years. This is interspersed with quotes of other people, notably Wilde on Shaw: 'He has no enemies, and his friends don't like him', and even a short reading from Pygmalion gets a look in, which was to become 'My Fair Lady' where Keogh's own title is adapted from, and the royalites from this musical adaptation, we are told, benefited The National Gallery of Ireland.

This is a warm, witty evening, brought to life well by Keogh and director Patrick Talbot, that is both interesting and funny, as well as a potted history of the man himself told in a very relaxed manner, as the initial introduction suggests. Keogh is not afraid to touch on sadder aspects of his subject and suggests a deeper feeling man than perhaps the normal view of him is, or even was, while he was alive. Well put together, it doesn't ponder too much, nor does it move too fast, there is a even pace to it all, allowing us to enjoy the warm and relaxed performance from Keogh in this charming work that captures some of the Shavian spirit.

Runs until May 9th (then on a tour around the country)

Written and performed by Des Keogh

Director: Patrick Talbot

Set Designer: Jim Queally

Lighting Designer/Production Manager: Moyra D'Arcy

Set Construction: Bernard Collins

Production Photography: Tom Lawlor

Production Company: Patrick Talbot Productions

Venue: Viking Theatre, Dublin

Good Behaviour, The New Theatre

Hollow Ground, Theatre Upstairs

The Anti-Social Network, The Workmans Club

Morning, Afternoon and Evening, Viking Theatre

The Baltimore Waltz, The New Theatre

In Search of Mr B, The Civic Theatre

Mother, May I?, Theatre Upstairs

Intentions, Civic Theatre

Are You Havin' A Laugh?! Bewley's Cafe Theatre @ Powerscourt

A Midsummer Night's Dream, Smock Alley

The Man In Two Pieces, Theatre Upstairs

Mojo Mickybo, Civic Theatre

The Games People Play, Civic Theatre

Madame de Markievicz on Trial, The New Theatre

In On It, Smock Alley

The Kiss, Theatre Upstairs

Village Wooing, The Dolmen Theatre

Lucinda Sly, Civic Theatre

What's On....What's Next.....May 2015, Dublin

His Fair Ladies, Viking Theatre