James Joyce's Dubliners 3CD Collection

Title: James Joyce’s Dubliners. (3 CD Collection)

Writer: James Joyce

Adaptor: Wonderland Productions

Reviewer: Ciara Murphy

Reviewed for: The Public Reviews

[Rating:4.0]

Adapted from the widely successful James Joyce Dublin Walking tour, James Joyce’s Dubliners is a well-rounded collection of ten stories taken from the book of the same title.  The collection is presented across 3 CDs and is more theatre than audiobook.

These stories, with narration lead by Barry McGovern, offer the listener a comprehensive Joycean experience, which is both electric and moving.

The voices of the actors, framed beautifully by the vibrant and atmospheric background sounds, bring to life the world of James Joyce’s Dublin, and represent this era as something which has never been lost. It is ours to gain.

A highlight of this work is the spine-tingling adaption of ‘The Dead’. The longest of the stories, it uses its individuality to its advantage by contrasting the warm domestic atmosphere of the long anticipated party with an undercurrent of chilling silences. The duality of the setting truly brings the reality of its characters to the front of this domestic setting and illuminates something very real to its listeners.

Across all of these stories, Wonderland Productions have produced a fantastic mix of voices, which bind together to create something truly authentic. The listener is treated to a variety of emotions, and is an active participant in the character’s journeys. Humour, sadness, grief, passion and hope are running themes, and despite the difference in era, these stories still remain universally relevant. The listener is given the ability to empathise with the bodiless voices that feel as real as watching an actor onstage.

Beautifully paced, this collection is easy listening.

A fantastic treat for any Joyce enthusiast. A taste of Dublin, both bitter and sweet. 

I, Malvolio - The Peacock Theatre, Dublin. 5th March 2013

I, Malvolio – The Peacock Theatre, Dublin.

Writer: Tim Crouch

Directors: Karl James & A Smith

Reviewer: Ciara Murphy

Reviewed for: The Public Reviews

[Rating:4.5]

Tim Crouch’s one-man show takes to the Peacock stage with a bang and blurs the lines between comedy and cruelty. Directed by Karl James and A Smith, and told from the perspective of Countess Olivia’s butler; Malvolio (Tim Crouch), I Malvolio brings a new vibrancy and humour to Shakespeare’s The Twelfth Night.

The pedantic Malvolio takes to stage in his grubby underwear and with an axe to grind. Within minutes Crouch has the audience hanging on his every word as he peers, dour and sceptical, into the theatre. He tells the audience to sit up straight, not to move, and everyone does so with dutiful ease and a certain apprehension.

The breaking of the fourth wall proves popular with the young audience and Crouch’s titillating and riotous dialogue has everyone in stitches. There is a slapstick element to the comedy as Malvolio is kicked in the backside, laughed at and almost hanged by the more than willing children in the audience. This dark comedy is a brave move for children’s theatre but Crouch respects his young audience and entertains everyone with a courageous mix of child-friendly jokes coated with a distinctly adult veneer.

Crouch’s portrayal of Malvolio dances a thin line between the pompous, wretched servant and the betrayed victim of a cruel and heartless prank. This is a task that Crouch pulls of with ease, his proclamations of “I’m not mad” hit home as he tries to order the chaos of his world. Malvolio races through the plot, illuminating the weathered tale with a fresh and hilarious perspective on a comedy that he declares “no one finds funny anymore”.

Despite the comedic frame, at times the play can become dark as Crouch asks the audience; “Is this what you like? Is this what you find funny?” As the ripples of laughter die away at this societal indictment and the lights remain up, we are left asking ourselves, “Do we?”

Runs until: 23^rd March

King Lear at the Abbey Theatre Feb-March 2013

KING LEAR - The Abbey Theatre, Dublin. February 26th 2013

Writer: William Shakespeare.

Director: Selina Cartmell

Reviewer: Ciara Murphy

Reviewed for: The Public Reviews

[Rating:4.0]

King Lear (Owen Roe) is a man who falls prey to the deceit and treachery of those closest to him. Portrayed as leader, father, beast and angel; the corporeality of his life is laid bare to the Abbey audience for the first time in 80 years. Director Selina Cartmell is quoted as saying that Lear is something you only attempt when you have “grey in your beard”, and as sure as Lear’s white beard is revealed as black, Cartmell and her ensemble have triumphed bringing an innovative, touching and at times harrowing production to Irish audiences.

Lear is dividing his kingdom between his three daughters and, in an attempt to settle who shall inherit what, he demands flattery and professions of love from his three daughters Goneril (Tina Kelligher), Regan (Caoilfhionn Dunne) and Cordelia (Beth Cooke). However, the honesty of his youngest daughter displeases him so he disinherits her and she retreats to France, leaving her siblings plotting against their father.  

Tense, comedic, frank and relevant; the idea of death and the tragedies of life, are revealed by an ensemble that in its unity allows the audience to witness an enthralling performance. Roe brings a humanity to Lear that has the audience invested in him from Scene One. His portrayal of the King’s descent to insanity, and the depth of his family’s betrayal is raw and open. 

Garance Marneur’s set design gives a vivacity to the performance that allows for the multi-layered tragedy to come into its own. Coupled with the precise lighting (Chahine Yavroyan) and the intricacies of the sound design (Carl Kennedy), each character is given an occasion to take centre stage. The choreography, designed by Liz Roche and Philip Connaughton, gives a structure to the staging and enhances the tone of the production.

A sense of the contemporary is injected into the performance through the occasional use of Hiberno-English. These colloquialisms cushion the occasional harshness of the text and served to augment the moments of humour that give the audience respite from the over-arching tragic plot.

With a run time of just over three hours, the play can, at times, fail to keep the attention of the audience, but it is quick to re-capture interest. Lorcan Cranitch delivers an earnest representation of the Earl of Gloucester and his honesty and guileless council successfully contrasts with the trickery and sinister plans of Lear’s enemies.

This production of King Lear is something which can be universally appreciated. The progressing madness of the King, and the inevitable tragedy of the plot come together in a way that resonates truth and retains contemporary appeal.

Runs until 23/03/13