Beautifully carved wood, black and white tiled floors, a large, stained glass window are some of the features you see on entering the Chapel Royal in Dublin Castle. It has an old world feel, the kind of chapel a small carol service might take place in. It is also the venue for Matthew Ralli's new play, Deeds of Deceit, produced by Speckintime, that looks at the strange case of the Irish crown jewels. But instead of transporting us to 1907, it brings the characters to 2014, where we can try to deduce who might have robbed the still missing jewels.The jewels in question were stolen from the Bedford Tower in Dublin Castle, only a stone's throw away from the chapel. Once the theft was noticed, an enquiry was set up, headed by Chief Inspector Kane of Scotland Yard, played with quiet reserve here by Gerard Lee. Once the findings were presented, the investigation faltered, the Inspector was removed, the report disappeared and time passed by. The jewels were never found and remain missing to this day. This is the mystery the piece is based on, creating a whodunit, only about jewels and not a dead body.
The tiled floor allows shoes, boots and heels to clip along, signalling an entrance of someone unseen, adding more atmosphere to the events. Without announcement the seven 'suspects' enter slowly, moving into the choir seats to each side of the open tiled space, where you might think most of the action will take place. From the back of the chapel Verity makes her entrance, a name she gives herself to make them feel better, but it seems she is not of our time or theirs, but feels more like a tour guide at a very modern museum, and the audience are to be helpers.
What is good is that 1907 is put in context for us, with regards what else was happening at that time around the world before the charms of unsolved mysteries are outlined. While not being a courtroom drama, Verity, played with authority by Margaret McAuliffe, is very much the interrogator, direct and strong. The audience is asked to listen very carefully as we will have to give our opinion as to who stole the jewels from the suspects presented. Listen we must, for there is a lot of background and details to each.
One by one their stories are revealed through her questioning, or if they aren't so willing, she fills in the details they don't wish to go into. Like Speckintime's previous production, this is very much an ensemble piece, with great characterisations, expressions and strong acting from all; Matthew O'Brien's Lord Haddo to Deirdre Monaghan's Mary. It is a company that feel very much at ease with each other. What starts off at a good pace, does overtime start to feel a little dry. There are moments when the group verbally spar with each other, and it is in these moments some more life is injected into the proceedings, and leaves you longing for more.
The costumes by Rowena Cunningham are fantastic, very much of the time, adding to the atmosphere and really dressing the characters well, although the waistcoats do have striking colours beneath the Edwardian dress suits. Matthew Raili is also the director, using the limitations of the venue to help as best it can, although at times it felt a little bit static, with a lot of the action taking place from the side benches, or the 'dock'. There is no set, with this venue there is no need, nor are there many lights, leaving the players out in the open, looking right at the audience, who are looking right back, from in front and behind due to a number of seats situated on the altar, a reason, perhaps, for some of the choices made.
It is an interesting topic, the writing fine, although interspersed with a number of lines you would expect in a courtroom, whodunit situation, with some lines delivered on top of each other. In all it is a curious night out that will have you discussing the events later. There is social comment too, particularly in how the attitude, and the law, was regarding homosexuality a hundred years ago, and it does so in the context of the events and people, rather than any other way.
What is lovely to see are the number of actors back for this Speckintime production that were in The Art of Wedlock. It does give a genuine company feel, a little bit repertory, so to speak. It is also a different way to look at history, and will shed some light, or introduce you to, this unsolved Irish mystery.
Runs until 6th July
Photos courtesy of Speckintime