It's not usual for a blue beret of a UN Peacekeeper to read a poem as the prologue. In Michael Collins play, this is the case. It serves as setting the theme of the evening, and from the darkness surrounding this uniformed soldier, a man emerges. It is through the eyes of one family, a son looking back, that the stories told brings us through time, the stage settings indicating this, from the camp fire to the old churn and wagon wheel and rustic wood and buckets. As the play unfolds, the feeling that this is highly personal comes through, and in a natural, at times fun way, unlocks this world for us.Like wandering in a time machine, we are told about the grandfather, back when he returned from World War One, a scene acted out in many villages and towns at that time, with an earthiness and poetry of The Hired Man. The reason the grandfather went to what he later calls 'hell on earth' in the first place was to find a son who signed up without telling anyone, a variation on Saving Private Ryan, a reminder how time and location might change, but somethings don't. The similarities and commonalities of the shared grief and horror are universal, as is the sadness in watching a fine War Horse dead on the side of the road. The front comes alive through a letter home, that must be read to the family, with the realisation that it must also have been written by a priest or a soldier at the front. A simple reminder of people unable to read or write and a feature of Collins approach to it all - let the stories take centre stage, the characters in them, identify with them, and through the personal the universal is shown, and the meanings. There is the information in the letter, and then the dictator of the letter speaks what is in it before stepping forward to tell what is not there.
Collins' writing is vibrant and he can tell a tale. At times dialogue, other's poetry, it is always convincing. He can write and let's hope he continues to do so. The passion and desire to tell the stories is palpable and at times you can see he is having a lot of fun, but he also hits the right tones during more serious moments, right up to the end. Structurally, he moves from emotional, sad scenes to a more light hearted moment, and back again, letting some moments hang in the air, letting them impact each of us in their own way. Songs are interjected, mainly through recordings, that does feel a little disconnected. The best song is the one he sings himself. It might be a better way.
It is episodic, but like Fiddler on the Roof, there is a link through it all. In the musical it was Tradition, and while that features here, it is also family. The stories and songs handed down, some in letters, some retold as they are remembered. The short piece, coming in at under an hour, is of interest in a historical, social way, as well as being entertaining, with the stories retold well, and Collins shows he can tell a tale, showing a different take on times in history we think we know, and at times it feels he is not even acting, but telling us a history that he knows and feels, recounted in a colourful and gritty way. It is well paced, controlled and structured, all directed by Mick Rafferty. Through the stories the meanings arrive, showing the shared experiences and the terrible discord and attidutes. If only more would try this route.
Runs until 26th April
Written and performed by Michael Collins
Directed by Mick Rafferty
