Tactics, Theatre Upstairs, Dublin

Politics, they say, is the art of the possible. In Tactics, a new play by Finbarr Doyle and Jeda de Bri, it becomes more about the art of 'what has to be done', no matter what comes up; the end justifying the means. The idea to tell the story beyond the stage itself is also an interesting one.

Medbh, running for election, is preparing for her first Q&A on RTE later that day, a sliver of light across her face, as if coming through a partly open door. She stands up, looks repentant, for the sins of her father, and delivers her opening. Jimmy is standing at the door to the room, linking up the lighting cue with the action, watching her, telling her she'll be fine, then Michael shows up unexpectedly. Her personal life is not all it seems and is about to take a turn for the worst, as it tends to do. Mebh is not going to let anything get in the way of her political ambitions; not Jimmy, not Michael, nothing. You can see Frank Underwood nodding approvingly. 

While there is perhaps the art of the possible to this tale, it works well as a short, one act thriller, or maybe even chiller. It doesn't always go into the art of the 'why', though. Events simply happen. I left wondering if there wasn't more to it, what was it before this day that brought them all to this point, to make the emotions so strong? At times it felt a bit uncertain from this point of view. Strange as it sounds, usually the suggestion is to pare things back, but maybe not here. 

There are moments it felt rushed, other times it sits very well. The language is natural, underlining the perversity, the chillingness of the situation that ensues, reminiscent of a number of films. It does shock, and is uncomfortable, ice cold at times, but that is the idea. It doesn't hold back.

All three actors bring life to their varying characters, the opening with Nessa Matthews as Mebh, and Kieran Roche as Jimmy, shows good chemistry between the two, a naturalness, although a couple of times the movements felt a bit awkward. Finbarr Doyle brings an everyday feel to his character and is able to throw out a couple of oddly funny lines with ease and timing in the middle of a chilling scenario. It is a small, but excellent company. 

Direction stands out. Jeda de Bri, taking the reigns of her own work, uses the stage well, moving the actors with ease, save for the odd awkwardness, on the whole making it all believable. Between them all, herself and the actors, they create a strong atmosphere. The set is simple but striking, designed by Aoife Fealy, mainly due to the red walls, reminiscent of Celtic Tiger interior design, a black sofa fills the stage. The lights fade in and out subtly, adding to the moment, designed by Eoghan Carrick.

One device employed to tell the tale was evident, one hopes to all, before entering the house. Mebh is being interviewed on the radio, which is an interesting touch, through it we get some background. Of course if you are unfortunate enough to be rushing in just before lights up, or maybe in full conversation with a friend, it might well be missed. I was neither, and so caught it. 

It is an interesting evening, looking at the power blind ambition can exert, but it left me wondering more about how it all came to this. I left with the niggling feeling that, while yes, it is good, you do have to let it take you in, and yes, it does shock, and is well acted, there is something missing in the telling.