The Wickedness Of Oz, Bewley's Cafe Theatre @ Powerscourt - TigerDublinFringe Festival

Her escape are musical films, even Garland interviews, and the dreams she has are dreams that people feel are beyond her talent range. And have told her so directly. But in her own mind this is not so, and like Charity she finds herself caught at a crossroads, her own silent scream given a reason, an image and a sound.

While there is the traditional stage, there is also a clear centre aisle in Bewley's Cafe Theatre, allowing Kate Gilmore, the solo performer, and writer, of the piece, to talk, and make comments directly and within the audience. And does she relish and make the most of this device? Absolutely. She is skillful, confident, delivering everything fantastically, including a goose-bump inducing 'As Long as He Needs Me', letting us see her mother and the brother, Fred, who won't wake up. Gilmore transforms the cafe theatre into her own space, commanding it and our attention through her conversational delivery, reminding me of Peter Sheridan's style. She moves with ease from one distinct character to the next, but the characters are Debbie's version of them; we never lose Debbie's voice. It is always theatrical. Always brilliant. In fact it doesn't really need the stage area at all. There is also something wonderful seeing this skilled and very accomplished actress doing her work at such close quarters. Making it look so easy. And it looks like she is having so much fun up there, that I was drawn into Debbie's world with ease and delight. She is aided well by her co-developer and director Clare Maguire. 

Gilmore sings unmiked, her diction great, her timing with the music spot on, helped by the brilliant sound design of Denis Clohessy. Colm Maher ensures the Cabaret feel is lit well without overdoing it. The songs blend with the dialogue and don't feel contrived, showing Gilmore's understanding of musical theatre; she has co-written one, after all, with stylish and perfect movements from Kitty Randle. At times letting one or two songs be given full length would have been great, but perhaps that is just me wanting to relish more of Gilmore's unique singing and acting style.

Gilmore's writing is direct, conversational and very funny, at times wickedly sarcastic, but not afraid to be serious and thoughtful either. In these moments, the show works wonderfully, defused at times by a wry line thrown in. She catches the twenty-one year old who is trying to make sense of her world with care and grace. She is not new to writing with a musical and one act plays already under her belt, as well as an Irish Times Theatre award. And she can act and sing as well. Gilmore keeps getting better and better, and for Gilmore's first Dublin Fringe outing, she is part of the impressive Show in a Bag initiative that has helped many excellent productions emerge and have an extended life. They have another one on their hands here.