Pleasure Ground, Smock Alley

December in theatre is always that mix of festive and non-festive fare. It is also the time when the 'lists' are in the air; being considered, or maybe even written. I didn't do one last year, and the thought has run through my mind in the last week or so. Luckily, I didn't write it, or else I would have to frantically add one more play to it. Pleasure Ground, written by Jarlath Tivnan,  is excellent, witty and brillantly written theatre, that deals with a sensitive subject with humour and drama, in equal measure; a play set in rural Ireland that reflects the world today, not relying on the clichés or stereotypes. 

Playing in Galway earlier this year, Fregoli have brought this new work set in the post-tiger, or crash, days to Dublin. It is one of the best post-tiger plays I have seen. It moves from the present, to past memories, with characters talking to the audience about their experiences, not talking directly to each other, when they do they are sometimes not even standing directly in front of one another, all directed seamlessly by Maria Tivnan. When they do talk to each other, after the funeral of a friend, in the Pleasure Ground, a playground where they grew up in, this group of friends, some who stayed, some who left for Dublin and London, the play doesn't lose its impact, nor its humour, it simply gets a new style.

The four strong cast create the distinct characters: one, Evan, played by the writer himself, caught in a small apartment and negative equity; Ashling (Eilish McCarthy) an actress in the West End; another, Brendan (Peter Shine) working the land, and the fourth, Linsey (Kate Murray), wondering what might, or even should, have been. The four band together brilliantly and command the attention the play deserves, giving great performances, all played out on Joss Clarke's playground set of the swing, bench and bars, while Matt Burke's lighting design gives full glows and darkness when needed. 

It moves with ease, scenes melting into each other, the first act being more experimental to a degree as it moves from one character to the next, the second act perhaps more traditional, but both working together, showing a community in crisis, the impact of post-boom days, and the frustrations of those around, while one character, David, is never seen, but his presence is everywhere.

It tackles the topics of belonging, community, and life in a way that is always best - through the characters and their story. Not to mention great and flowing dialogue. It doesn't hammer any points, it lets humour out, even the darker kind, and it creates solid characters, excellently played, to a soundtrack of some well known music from As Long As He Needs Me to Riverdance through Elena Dova's sound design. A wonderful, strong play that will bring goosebumps and is as equally compelling and will stay with you after the lights go down. Brilliant and well worth taking a look at, and it isn't here for that long unfortunately, before it heads off on a national tour. And the moment where Brendan walks into Aldi, pure magic.