FESTIVAL THEATRE | Reviews
A GIRL IS A HALF-FORMED THING ●●●●● Perfectly pieced together play which follows a young girl as she remembers her fragmented life
Eimear McBride’s novel, A Girl Is A Half-Formed Thing is unique, in that it manages to resist cliche while dealing with commonly explored issues: sexual abuse, religion in Ireland and familial tension. It achieves this through highly-stylised language and form, and so translating its essence into a piece of theatre is a risk. Happily, it’s a risk that director Annie Ryan took, and though the issues explored are often visited in theatre, there is nothing commonplace about this play.
Like the novel, the production relies on the uncompromising power of language. The premise of the play is as simple as its staging, in that it tells the story of a young girl’s life from birth to adulthood. Aoife Duffin stands alone on stage, without a set, props, or a supporting cast, and simply speaks. She plays every character in the play – the titular girl, her
sheltered mother, her sexual aggressor – but crucially, they are not mimicked or ventriloquised. She shows us by telling us, her physical and vocal changes subtle yet distinctive, and through Duffin’s transporting performance, the almost empty stage seems full of people with stories to share.
Though many scenes are uncomfortable to watch (one
rape scene is particularly brutal) it’s impossible to look away. The script is dark, but it’s also full of humour and on-point commentary about growing up in Ireland. This intimate play draws you in, managing to incite the most
extreme reactions from its captive audience: one minute the house is laughing, the next it is deadly silent, mesmerised by the sheer power of the performance. As Duffin beautifully pieces together what’s left of a woman’s fractured life, it’s clear that this production is an extremely well-formed thing. (Rebecca Monks) ■ Traverse, 228 1404, until 30 Aug (not 17, 24), times vary, £20 (£15).
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HOW TO KEEP AN ALIEN Autobiographical comedy on tearing down red tape ●●●●● THE CHRISTIANS ●●●●● Engaging theological debate from the team behind Grounded
EDITH IN THE DARK Children’s author gets ghostly ●●●●●
Rom-coms are one of the most maligned forms of entertainment, and rightly so: mawkish, predictable and with a burning after-taste of vomit. Irish writer and actor Sonya Kelly agrees, which is why she skewers them here. Kelly meets and falls in love with ‘Kate from Queensland’ at just the right time, before ‘the moist pearls of a mid-life crisis’. They are in theatre together, but on-stage drama is as nothing compared to real life, as Kate’s visa is quickly running out, and they have to contend with Home Office bureaucracy, dodgy Skype connections and Kelly’s tendency towards existentialist angst.
Alongside cheeky co-star Justin Murphy, who milks his moment in the spotlight with a searing karaoke version of ‘Bright Eyes’, Kelly is a vivacious presence, with immense charm. Her lyrical storytelling is lucid and hilarious. Loving the alien is proving a knotty mess, but for
once, a heartwarming love story can transcend all cliches – and she does, with heart, smarts and integrity. You can even forgive Bon Jovi in the soundtrack. Almost. (Lorna Irvine) ■ Traverse, 228 1404, until 30 Aug (not 17, 24), times vary, £18 (£8–£13).
86 THE LIST FESTIVAL 13–20 Aug 2015
Rather than engage in multiple existential dilemmas, The Christians addresses only one: not Does God Exist? but Do Non-believers go to Hell? It’s a question that vexes many minds among the faithful, and when Pastor Paul – head of a thousands-strong American church – tells his congregation that no, non-believers do not go to hell because hell doesn’t exist, it causes a schism in his flock and a crisis of faith among those that remain.
This new play from the Gate Theatre, and the team behind 2013’s Fringe First-winning Traverse show Grounded, is smart and engaging, with insightful and complex characters played by a talented cast. William Gaminara commands the pulpit as the Pastor with ease, though the highlight is Lucy Ellinson’s turn as a confused congregant.
But while its ideas are never dull, its pace
sometimes lags and the bursts of song from the full choir onstage don’t quite do enough to make it feel more urgent. Still, it really does feel like the Gate has brought a church to the heart of the Traverse: when we’re told to bow our heads in prayer, it’s all we can do not to automatically obey. (Yasmin Sulaiman) ■ Traverse, 228 1404, until 30 Aug (not 17, 24), times vary, £20 (£15).
Part biographical study of the author Edith Nesbit, and part dramatisation of her early ghost stories, Emmerdale and River City writer Phil Meek’s script reveals the sexual frustrations and morbid fascinations of the author who has charmed generations with The Railway Children. At a Christmas Eve party, Nesbit, played with a
spritely sensuality by Blue Merrick, tries and fails to seduce a mysterious young man. Realising he is more interested in her as an author than a woman, she traps him into listening to her early ghost stories – tales which she finds reflect her mood more than fanciful stories of cheery youngsters. The ensemble proceed to inhabit her horror
tales, reflecting Edith’s own disappointments and cynicism. The conclusion weaves together the imaginary and the biographical, hinting that Edith is either under a curse herself – or more likely insane – without resolving either strand, and the touches of melodrama undermine the naturalistic script and acting. Yet the pleasure in seeing a strong ensemble and a bold approach to a venerated author, make this an intriguing diversion. (Gareth K Vile) ■ Momentum Playhouse @ St Stephens, 516 2880, until 30 Aug (not 17), 4.25pm, £9.50–£11.50 (£8.50–£9.50).