Tryst, The Lir Academy; Tiger Dublin Fringe Festival

Wanting to be in the right is something that moves from one character to the next. Sometimes it is slung, other times pulled out from under them like the proverbial rug, as positions are taken, with words more cutting than sharpened knifes are stuck in and turned. Writers Jeda De Brí and Finbarr Doyle throw three regular people into a scenario that is both taught and fraught, but with their new play Tryst they have grounded it in Steph and Matt's apartment living space, the kind of sparse space we all have lived in or seen at some time, into which Rachel arrives with her news that starts the descent into chaos.

Matt who starts off hung over, and maybe drinks to much - 'not a Ha Ha drunk' - walks into the living space while fianceé Steph is wide eyed and bushy tailed playing a Batman computer game. It all feels homely, even fielding a call from her mother about the wedding plans, and like most wedding planning it seems to become more about the guests than the couple. Into this comes Rachel, Steph's best friend and chief (or is it head?) Bridesmaid. She herself is facing a disciplinary hearing at work, but still has taken time to do a lot of jobs like the bunting, and a recap of the seating plan, the tables named after singers, all helped along by quick dialogue in Aaron Sorkin style, and slick jokes - 'Who's at the Morrissey Table'? Rachel asks. 'Messers and vegans' Matt replies. But Rachel has a bomb she is about to drop, one that will engulf them all, the present day and their future plans. The question is: can they survive it?

Responsibility for choices is a main theme, with that hot potato thrown or shoved from one to the other, with each trying to claim some form of moral high ground. There is a sense of blame shifting like from Into The Woods, and echoes of God of Carnage. The two links showing the diverse nature and style of de Brí and Doyle's writing. Fear is an emotion that runs throughout the characters: what others will think, accepting what they have done and how it will change their lives.

Finbar Doyle as Matt starts off sore, showing a naturalness in the character, but as the morning progresses, becomes more inward, the fear more palpable, the secrets more real, and the delivery of what was thought a stupid line by a friend to their girlfriend, landing perfectly, as his back is against the wall, and the day folds in upon the three. Doyle gives a very, very strong performance. As do all three.

McCann's Steph is more in control, her descent a different kind, from panic to facts to disbelief - she runs the gamet - never over the top in the knowing, skilled hands of Katie McCann. Clodagh Mooney Duggan rounds off the three, her Rachel is a solid, emotive and excellent performance, letting things out, but still making us feel there is something unsaid. But even she can deliver some cutting lines, and yet delivers the most focused and touching of revelations under the wonderful glare of Dara Hoban's lighting. All three have worked together before, but here they move and bounce off together well, keeping everything in check.

The mix of friendship, drink and sex is very potent. It builds - or descends - into a tension filled, claustrophobic and dangerous situation, helped by the lighting closing in around them. De Brí and Doyle's dialogue pistons out sharply, using pauses well and pointedly, but leaving little room to take breath. The direction is by de Brí and, as always, she uses the space - in this case a square, carpeted space surrounded on three sides by the audience - ensuring that the characters are seen by all, and when one character's back is to the audience, and you see the others; it adds a cinematic feel to it in a very simple way, that idea of looking over their shoulder. 

Like all previous plays, it moves at a good pace, is thoroughly character and situation driven; the triangle given life through the positioning of the characters at different points in time on the square space. Perhaps a modern day chess board, as they move around it, using words to play it out as well. There is a slight feeling that a little shorter running time might help it along, as some moments and exchanges feel stretched, but this is a small point.

Sickle Moon, de Brí and Doyle have a style and a way of picking topics that are both timely and debateable, without slipping into homily; they make their social comments and human observations well, if you wish to pick them up they are there, if not, they are in the fabric of the characters and the story. They also pull together a team of great creatives to realise their ideas. Sickle Moon productions are always worth looking at, and this one, like others before delivers the goods. I am sure we will see them take their plays and talents beyond the confines of where they are, and this play, like some of their others, have a universal quality about them.

Runs until Sept 24th 2015 (I saw it on the last day!)

Cast:
Finbarr Doyle - Matt
Clodagh Mooney Duggan - Rachel
Katie McCann - Steph

Creative Team:
Jeda de Brí - Director
Nicola Burke - Costume Designer
Katie Foley - Set Designer
Sinead Purcell - Stage Manager
Katie McCann - Producer
Chris Lindhorst - Photography
Molly O'Caighlain - Graphic Design
Sinead Diskin - Sound Consultant
Jessie Doyle - Assistant Producer