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"Why are you choosing to show yourself in this horrible light?" Veronica asks her husband, Michael, after he has unleashed a racist side. On its own the question is deep, but at the point in the play it is uttered, the 'civilised' approach of the two couples meeting has long since vanished, with each showing some aspect of a 'horrible' side, giving it a comic slant rather than a more sincere question. And in the twitter age it is a question that could be asked of many.The Mill Theatre's production of Yasmina Reza's play is given a few Irish references and locations, placing it in the large living room of a house or apartment that offers a good view of the LUAS line. Against the red wall of the room is a yellow work of art that seems to have shattered and scattered large pieces around in Gerard Bourke's set, a graphic representation of what happens to the meeting between the two sets of parents, Alan and Annette, who's son has whacked Veronica and Michael's boy, knocking two teeth out. The idea is to sit down and talk it through in a civilised manner, complete with tea and clafoutis.
In the beginning there is an awkwardness between them, the feeling that Veronica wants this more than Annette and Alan, a lawyer who keeps answering his mobile phone to discuss the handling of a dubious problem with a client's new drug. The awkwardness soon descends deliciously into backbiting, alliances between the couples and the individuals, not helped by Annette throwing up all over the coffee table and Veronica's prized art book. After which, proceedings nose dive even more as the reason for their being together in the first place is left behind, unveiling chinks in marriages, shaky values, frustrations and true feelings.
Claire O'Donovan's Veronica charts this descent from soft spoken, concerned humanist to throwing up anything she can to land a punch extremely well, becoming the centre of this quartet. Dave Walsh as the somewhat monotone lawyer, seems to relish watching the antics he has unwittingly become a part of, enjoying them more when the drink comes out, something we feel as well, part of the joy and comedy in watching this spiraling descent, while they are getting nowhere. There are times when they seem as childish as the children they are there to talk about.
It moves along at a good pace, feeling shorter than the ninety minute interval free staging, but under the direction of Geoffrey O'Keefe it never spirals out of control, unlike the characters, and plays into the farcical quality of the piece, while letting thoughtful moments hold their own, although there is the odd detail and effect that perhaps doesn't work quite as well as anticipated.
Despite this, what is on view is a play that is delightfully despicable, and watching these actors chart this comedic descent from well meaning to claws out is one that will shock and evoke dismay, but in the end it is well worth it.
Runs until Feb 14th
Photo courtesy The Mill Theatre