I am of Ireland @ The Old Red Lion Theatre

5 -30 June, 2018

by Seamus Finnegan
Directed by Ken McClymont

Shenagh Govan and Euan Macnaughton in I AM OF IRELAND, credit of Michael Robinson

As I enter The Red Lions Pub Theatre on a busy Friday evening ready to watch the exciting new play ‘I AM OF IRELAND’ by Seamus Finnegan, I realise I have little knowledge of the history of the Troubles in Ireland. But, I’m telling you now, I was certainly about to be told.

The dimly lit black box theatre was creatively designed with rope, chairs, paintings and wooden crosses all hanging (as though frozen in the middle of an earthquake) against two walls; a busy backdrop to the large wooden square outlining the stage. Music was playing, not particularly emotional, just light hearted and (of course) Irish related. The show began with the patriotic song Ireland’s Call sung acapella as the cast filtered into the space one by one, dressed (some of them comically) as well known Irish stereotypes. All singing with equal enthusiasm. The atmosphere created was one of unity and pride, you couldn’t help but smile and wish you knew the words to sing along.

The beginning certainly transported us to Ireland and gave us an insight into the contemporary issues (and well, the play carried on to give us a lot more than just an insight). Not long into Act 1 I began to feel overwhelmed with information, as though I was sitting through the last revision session before an exam and trying to cram in as much as possible. About racism, the Troubles, faith and religion (both Protestantism and Catholicism), the IRA, the loyalists and the ex-patriots (and everything in between it seemed). These were obviously topics which Finnegan has a rooted passion for (and rightly so), however the ambitious dream to address them all equally and theatrically; all of these character’s each with a story to tell, involved in all of these topics, and giving us all of this information at once… it was just overbearing, and instead of keeping us in this Irish bubble it gradually alienated the audience.

Although the context was jam packed, Finnegan’s writing is exceptional in bringing out the understated truthful emotion of the characters. It was the perfect cast; all of them effortlessly changing between roles and displaying each character with integrity, humour and understanding. The likeable Euan Macnaughton, with his honest blue eyes and rich Irish tone told many a story through (lengthy, yet well executed) monologues. Shenagh Goven was a force to be reckoned with, her powerful voice and strong demeanour (and not to mention her brilliant comic timing). Every time she entered she brought the stage alive.

Sean Stewart, Shenagh Govan and Angus Castle-Doughty in I AM OF IRELAND, credit of Michael Robinson

‘I AM OF IRELAND’ was full of short snappy scene’s which were cleverly directed by the capable Ken McClymont. The overload of information is forgivable due to the believable cast and enjoyable, relevant soundtrack. I certainly left that warm little pub with an education, and grateful I witnessed such talent.

 

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Review by Lauren Russell

The Nature of Forgetting, Theatre Re @ Shoreditch Town Hall

Review by Lauren Russell

24 – 28 April, 2018

by Theatre Re
Conceived & directed by Guillaume Pigé

The Nature of Forgetting, credit Danilo Moroni 2

Photography by Danilo Moroni

Tonight, at Shoreditch Town Hall, I watched one of the most tremendously moving pieces of theatre I have ever seen. ‘Theatre Re’ has hit the nail on the head with this physically astounding show ‘The nature of forgetting’.

A likeable, agile, committed cast of 4 performers, one of which conceived and directed this phenomenon; Guillaume Pigé, took the stage by storm and filled the space with contagious energy. They explored the raw essence of what it is to be human by delving into the mind of 55 year old Tom who has dementia. His memories vividly played out before us, from his mother prepping him for school, to his first kiss, his first love, his first loss.

Due to the play being utterly captivating throughout it is difficult to pin point the highlights as the energy never once dropped. However I particularly like the use of the bicycle, which comes when Tom remembers riding to school, and the way he and Isabelle (whom was played by the amiable Louise Wilcox), as school children, innocently play with one another. Their pure enjoyment on stage was certainly mirrored by the audience.

It has to be said, ‘The Nature of Forgetting’ had one of the greatest live soundtracks I have heard accompany such talented performers, composed by Alex Judd it was satisfyingly brilliant, and without such music the piece would not hold the same weight. Complicité was achieved through the perfectly organic connections from actors to the choreography to props to music to lighting. The complex mime sequences throughout were clear enough to understand regarding the storyline, yet were also wonderfully open to an individuals emotional interpretation (So glad there was no spoon-feeding malarkey).

Ultimately, this is not to be missed. I could have watched this show a thousand times over and still noticed something new. The whole audience was inspired; the young were motivated to create the greatest of memories, the old were reminded of their fondest moments. An incredible achievement to create something so physically intricate yet simply beautiful. ‘Theatre Re’ are certainly worth watching, and ‘The Nature of Forgetting’ is absolutely unforgettable.

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