The Matchmaker, Civic Theatre, Dublin

Dicky Mick Dicky O'Connor is the local matchmaker. It works a little bit like internet dating sites only you write handwritten letters to him, he sees what the requirements are, finds a match, all for a fee, of course. But not all goes well, as Fionnuala Crushed learns (the names should give you an idea of the tone of the play), but at the heart of this entertaining, funny work by John B Keane, that looks at the slightly strange side of life, is the idea of loneliness and companionship.

Jon Kenny, no stranger to the rural comedy themes, plays The Matchmaker himself, with a mellow authority, adept at handling people, but when the moment comes, allows us to see behind his own facade in some touching moments. Mary McEvoy gives a good turn as some of the female protagonists, especially Fionnuala Crushed, another wonderful name, brought to life not just in voice, but in a great physical performance, so much so that once she takes on the walk and stance we're looking forward to her next letter. 

Letters are the key to it all, as the stories and events are told through them, be it from O'Connor to Crushed, or to his sister, or her replies, or the gentrified Glenn Hunter, leaving very little in the line of direct communication. There are exceptions to the rule, such as Dicky's visit from the priest, both played by Kenny, who manages to instill a more fearful, sinister, authority into his portrayal of the local priest, conveying that power they wielded at the time. Kenny also plays Hunter, a role that felt better as the evening continued on. In fact, in a style usual today, both actors play a variety of characters, each distinctive in their own right, showing their versatility and skill. Kenny's quick speaking jockey character is quite a feat to see when he first appears

All of this is played on a floor where handwritten words and phrases lie, where the characters tread on them, or maybe keeping them hidden, under their feet, only letting them free in their letters. The high walls of the rural houses, with the window pattern shining on them, the tables and paraphernalia, show a detail and a sparseness, in what is a good set, conveying the time and place with the religious pictures, such as the Sacred Heart, while lighting gives a sense of focus and at times coldness. 

Keane's play looks at the ordinariness of life, with a sense of fun, satire even, yet allowing the reality to come through, and in looking at it now from our vantage point, it can be easy to forget what it might have been like when it first appeared. Throughout the play there are the images and metaphors of the country side, the farm, that help create some interesting comparisons. At the heart of the play is the idea of loneliness, and it is really what drives them all in their turn, and the search for companionship.

All of this is presented by Michael Scott, and while it might sound twee, it certainly can't be labeled as PC, but it doesn't do things out of malice or to be nasty, and in some cases it might well have been ahead of its time. It is an entertaining and enjoyable night out, with good laughs and shows Keane's comic ability, and what makes it fun is that the cast do send it up a little, without becoming over the top or caricatures, just highlighting the absurdities in some ways, without belittling the characters. When the poignant moments arrive, they feel deeper and that comic style is replaced by reality, culminating in a lyrical, almost poetic ending that caps a wonderful night out. The thought did cross my mind as to what Keane might have made of Twitter and Facebook?