Waking up after a one night stand with a particular taste still in her mouth brings us into the world of this young girl, where she offers 'a blow for smokes'. Sex is a large part of her routine, as is the Tesco Gin, trying to get through the school day with a throbbing head making 'The Jackal's' class harder than normal. The Jackal is a nun who takes them out into the sun and lets them pick one flower, with no drama or fuss, putting them off guard as usually its warnings around sin through glaring that comes their way, in this direct, strong play by The Lir Academy alumni, Gillian Greer. By strong, I mean with an emotional core, not simply the subject matter and language, but both are as well.Here we have a school going girl fully sexually awakened. We are never totally aware of her exact age, but there is movement between the doubt and darkness of the littered flat floor and to the sun drenching down on her while the grassy dew soaks her feet, giving us a play of contrasts, suggested by Laura Honan's set of shiny black tiles between the sheer plastic white on the back wall through which light floods us at the beginning and for a moment or two at the end. There are no other props. It is the actor, set and the language that pull together as one.
The monologue is written in verse, giving it a heightened language, with an in built in rhythm well realised by Gilmore and director Karl Shiels. Gilmore's performance is nuanced with a strong arc, moving between the girl who knows it all and needs no help, to the moans of pain and finally disbelief and terror that we all feel. A moving sequence being the slight lift of Gilmore's shoulder depicting the mother who wants her daughter to stay in and watch cheap chick flicks, coupled with the daughter's responses. Going to Club Diva for the night of nights can not be missed and it has been all arranged. It all builds to the terrifying ending, brought to gut wrenching life by another fine Gilmore performance, rounding off a productive and successful year for this actor.Movement is sparse, keeping us focused on the language and the character, the emotions coming through both. This theme follows through to the costume as well: a white top with short and tight shorts, and what seems like wet hair. Water and liquid showing another use of imagery by Greer, as well as the dripping sound heard at moments throughout. Eoin Stapleton's lights, depict warmth, iciness, the glow of the club and the telling slat of light hitting Gilmore's face at the top and tail of it all.
It is strong writing, the verse not preventing astute observations and wonderful images: the clasping of the white rose, again the colour co-ordination kept intact, but grasped out of desperation through a hedge, the thorns scratching the skin, a harsh feeling, but one that is a feeling, alongside the soft, delicate petals.
This is not an easy piece, but it will make you think through its lyrical language, countering against the subject matter, in a rich work with a poignant journey for the character who has her own epiphany, but at what price - 'giving so much for so little' - in what is something of a cautionary tale for us all.
Runs until 20th Dec
Photos : Jeda de Bri
More info: www.theatreupstairs.ie
Runs until 20th Dec
Photos : Jeda de Bri
More info: www.theatreupstairs.ie