Some stories make you uncomfortable, which is a word that came to mind while watching Runcible Spoon's production of Cornerstones, Bairbre Guilfoyle's play about four squatters doing what they can to survive in Dublin, some getting dragged down in the whirlpool of the crap that has brought them all together. Watching on as hope gets squeezed out while at the same time the brightness of the lights becomes darker, moodier, as the really nasty side emerges from one who makes it sound like 'we're all pals', but their power and violence engulfs slowly and dangerously, is not easy. But its delivery is damn good. The idea is nothing new, but the dialogue and the comedy, and yes, despite my previous paragraph, there are some very funny lines in this piece that like Derry, lures us in, but in a much better way. Guilfoyle knows how to write comedy and one liners that comes from the character and situation, delivered finely by this talented cast under the direction of Clare Maguire who keeps everything in motion. Something is always happening, even when one scene is in progress on the other side of the stage, there might be bodies on a sofa, or smoking or simply people moving in and out.
There is energy, movement and rawness, best displayed in a drug and drink induced party complete with pumping tracks from DJ Dara & Exit Introvert, the music adding a frantic, vibrant soundtrack, melded to the wonderful movement direction of Kitty Randle. The party was as real as it could be while still being theatrical, and even then, the movement isn't wasted, or random dancing, it pushes and underlines relationships and potential relationships in the story.
It also moves out of the stage area and into the audience, all emotions on display, beginning with Jonni and Ciara standing either side of The Loose End's centre seating and talking back and forth, part of the audience, but still apart, like themeselves, homeless and part of the city, but also seperate from it. The characters first entrance was from the audience as well, before leaving the auditorium, finally emerging into their rooms that are seperated by an upturned shopping trolley, some pallets, a mouldy sofa in one room, the other a mattress on the floor where Ciara doesn't want Jonni to eat crisps on it as the crumbs get in the duvet. There are standards.
Jonni is played with a wonderful, natural awkwardness by Ste Murray, his delivery slightly quirky but landing the comedy so well through tone, timing and expression. In a way it is boy meets girl, the tale as old as time that could be played anywhere rather than some rundown house in Dublin, as he and Ciara, a 'with it' but bright girl, used to lifting from shops and working down the IFSC with the male office workers, but it's not so bad, 'better than Tesco', and she washes her hands after. But she is going to get out and The X Factor will help in another fine Kate Gilmore performance, while showing a different side to her singing skills than in A Picture of Us, giving us the feeling that there is a lot more where that came from as she took on Secret Love by Doris Day from Calamity Jane.
Her friend, Mandy, is given a passive, resigned feeling from Cara Christie, certain a man on the boardwalk (the one beside the Liffey and nothing to do with Bruce Willis) is her Dad, but she daren't follow it up with him, while taking whatever Derry dishes out. He has plans to earn a shed load of money and show it all to those who should have stuck with him but didn't. It involves controlling and getting his cut, as this is not a very nice boy at all, in fact he is quite a conniving brute, played by Terry O'Neill with an 'I'm you friend' sensibility until he lures them in and then matter of fact keeps them there; a truly unlikeable, dispicable character, pulled off authentically by O'Neill.
The thing with Cornerstones is that despite the story, their predicaments, there is that spark of hope in all of them, even as it all goes wrong, accentuating the awfulness of it all. The rawness coupled with some excellently choreographed sequences of movement creates an evening that at first glance is not a new premise, but then it is about the journey not always the destination. And on the journey home it was there with me, as real as the actors coming close to the audience to tell us about themselves and their stories that led them to where they were. So yes, sometimes uncomfortable is a good thing and in this case, worth a visit.
Runs until 21st Feb
Photo courtesy of The Civic Theatre