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"The sky is full of ghosts." Many places can be, including our dreams. But Katie McCann's new play is not a ghost story. It is a story about a brother and sister, Graham (Rex Ryan) and Hazel (Katie McCann), now adults, and a shared past experience that both of them face. A ghost of sorts. Here we get their story from two perspectives. This idea is achieved very well in both the writing and staging.
Entering the intimate Theatre Upstairs space is like entering a mist. Bars of lights cut through it and create shadowy outlines of the two figures, their heads down, standing perfectly still before us. Following a burst of bright light, dialogue flips between them both, overlapping a little. The senses being activated, as the visuals that almost surround the audience is in contrast to the protagonists remaining rooted to the spot for the duration; their bodies moving, leaning forward, waving, interacting, but there is no wandering. Their inner thoughts do that and show us the way. But they never converse, they are as separate from themselves as they are from the audience. The mist, lights, thoughts connect us all together.
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Graham remained in the family home with his father, who has just died, leaving the house empty as their mother passed on some years back. Hazel feels she got her 'shit' together better, moving to the city, getting a job, and yet, in McCann's movement when we see her as the rest of the world does, there are hints of something else, the movement of the hand and arm, the turning of the head, subtle movements, as she tries to make her way in life and then back to the family home. Ryan's Graham is a ball of knots, his face taut and tense, trying to be fine but not achieving it, underlying an awkwardness that is uncomfortable. Then there is that palpable sense of loneliness in Graham's eyes, delivery and stance. This is an excellent and sympathetic performance, the best of Ryan's that I have seen to date. You feel what he is feeling - what both are feeling - in this character driven play that looks at the inner and the outer.
This is realised by a combination of things: firstly there is McCann's writing, helped by some unexpected lines and dark humour, delivered in her wry, through-away style. Then there is Karl Shiels confident, character focused direction; shadows and light the order of the day against the telling gestures of Graham and Hazel. Two characters, one history and two points of view, allow Laura Honan's train track set to be both functional and symbolic. Consistency in the visuals at this venue is as striking as the visuals themselves. There is also the underlying score by Derek Conaghy, not overpowering, but fitting in wonderfully to the tone and tale, while Eoghan Carrick's lights add to the shadowy effect throughout.
Character is at the heart of this work, while the sum of the parts adds to an impressive whole, one that grips you. There is an intensity to it, aided by the loneliness, but there is also sympathy. And two excellent performances.
Runs until: 21st March 2015
Cast and Creatives:
Katie McCann: HAZEL
Rex Ryan: GRAHAM
Venue: Theatre Upstairs
Writer: Katie McCann
Director: Karl Shiels
Set Design: Laura Honan
Lighting Design: Eoghan Carrick
Composer: Derek Conaghy
Visual Design: Ste Murray
Photos: Jeda de Bri
Producer: Megan O'FlynnPhotos: Jeda de Bri
Production company: Illustrated Productions and Theatre Upstairs