Stones In His Pockets, Civic Theatre, Dublin

Hollywood has invaded a rural town in Kerry, employing the locals as extras in the film, including the oldest surviving extra from The Quiet Man. Charlie is a bit of a blow-in, wandering about after his DVD shop went bust, but he has big ideas to get into the movies, if only he can get noticed by the right people. He meets Jake, not long back home from the States, the two working their days side by side on set for the next few weeks, taking directions from Colin, with help from Ashling, who is the conduit to the distant Clem. This is a bit of the 'fish out of water, different worlds colliding' idea, as Marie Jones's play takes us on a journey that is at turns extremely funny, serious, thoughtful and ultimately uplifting; a play set in the world of movies that is a wonderful, theatrical experience.

Jones's play moves at a steady pace, with dialogue that flows easily out of the characters mouths, with witty lines throughout. Despite a number of characters, around 15 in total, Connor Delaney (Jake) and Stephen Jones (Charlie) play them all. This device, one actor playing multiple parts, is something we are quite used to these days, but according to programme notes, director Ian McElhinney feels that back in 1999 when the play first emerged, it might have been something novel. Regardless of being novel or not, what is striking is how seamless and fast the transformations into each individual character are, both in terms of accents and characterisations, as these two capable actors truly embody each creation physically as well as emotionally, from hunched shoulders, wide eyes, limps, or simply tics, all are perfect and consistent each time the character appears. At one point an older version of one character transforms brilliantly into the younger version during flashback, which is what this devise allows the play to do, and so keeps the pace moving, even a cinematic feel, while adding layers to it. The fact that they move from one to another in the blink of an eye, or in a footstep or turn shows great skill and flexibility, enhancing the script and not distracting from it.

With a simple set, designed by Jack Kirwan, a backdrop of blue sky with clouds between the edges of film, a row of various shoes underneath which could indicate the costume room, or maybe the different shoes the actors will fill, added to that a chest and a box, the actors and characters really do have to shine, and under the direction of McElhinney, it truly draws us in. This production has movement direction from Bryan Burroughs, who is having a great year touring with his own highly acclaimed one man show Beowulf: The Blockbuster, which has become a blockbuster in its own right. The inclusion of Burroughs has no doubt helped the characterisations, the almost dance like quality of the physical changes the actors need in order to embody the multitude of characters that they play. Add to this a small, but good, array of costumes, designed by Kate Moylan, and fewer props, means that on a sparse stage the actors really have to fill it, without being over the top, but with interesting, funny, distinctive and recognisable characters, which is exactly what they do in two undeniably brilliant performances.

Stones In His Pockets has toured all over the world with great success from Broadway to the West End, and it is easy to see why. The themes are universal, everyone knows Hollywood films, stars, and the ups and downs of dreams, or not dreaming. It also entertains, while touching on more serious themes, pulling it off extremely well, in the end delivering a good, solid story, that never forgets to entertain. This is a delightful production and with a touch of lightness and a good story, that doesn't make light of the serious aspects of the piece, delivers a wonderful night out at the theatre.

Runs until 6th September
Picture courtesy of The Civic Theatre; Photos by Patrick Redmond