His Fair Ladies, Viking Theatre

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.