Tag Archives: Jenny Hobson

Irish Coffee

★★

Calder Bookshop & Theatre

Irish Coffee

Irish Coffee

 Calder Bookshop and Theatre

Reviewed – 13th October 2019

★★

 

“Irish Coffee has exciting potential, but this production seems intent on sabotaging itself, instead delivering a thriller that simply doesn’t thrill”

 

Since 2019 marks 100 years since the birth of beloved Argentinian political figure Eva Perón, it feels as apt a time as any to present work on her legacy. It’s hugely welcomed that a new play aims to shine a different sort of light on Perón than Lloyd Webber’s over-produced megamusical Evita, but unfortunately the execution of Irish Coffee leaves only a bitter taste.

In the wake of Perón’s death and the installation of a military government in place of her husband’s presidency, rumours are flying as to the whereabouts of her body, and journalists Rodolfo (Fergus Foster) and Tomás (Giorgio Galassi) are eager to find answers. In doing so, they become entangled with Colonel Moori-Koenig (Gary Heron) and his (unnamed) wife (Sally Ripley), and thus – in theory – tense political thrills ensue. The play is adapted from the real-life Rodolfo’s short story about his encounter with the Colonel, a meeting which doesn’t take place until about halfway through the script in Irish Coffee, originally written by Eva Halac and translated from Spanish by Daniel Kelly and Luis Gayol (who also takes on directorial duties). It’s no surprise, then, that that meeting makes for the best scene of the play as it had excellent source material to adapt from, although it also unfortunately highlights the lacklustre and meandering nature of the rest of the show.

Most of the scenes are two-handers between either the journalists or the Colonel and his wife, and since the people in those pairs are striving to achieve the same things, there is very little conflict or tension in those interactions, and what is there is forced and jumbled in with heaps of clunky exposition. It was somewhat astounding that Gayol worked as a translator for the text given his lack of reverence for it as a director, as the actors appeared to be following instructions to do as much unnecessary busywork in the overstuffed set as possible. In one instance, the blocking placed two actors at the very front of the intimately-sized stage, completely obscuring what was supposed to be one of the few crucial visual moments happening behind them. It felt as though the company were expecting to be performing on the National Theatre’s Olivier Stage, only to at the last second be moved to the Calder Bookshop and Theatre, which is much cosier (albeit still a delightful venue).

The performances too felt roundly under-rehearsed, as though Gayol had requested ‘shout this line’ or ‘cry here’ and the actors were doing as they were told without having found an emotional justification to do so. Despite this, Galassi and Heron both provide stellar stage presences, and as mentioned, the scenes in which the opposing sides interact begin to provide a crackle of energy -however, that happens far too late in the play and fizzles out far too soon. Irish Coffee has exciting potential, but this production seems intent on sabotaging itself, instead delivering a thriller that simply doesn’t thrill.

 

Reviewed by Ethan Doyle

Photography by Robert Piwko

 


Irish Coffee

 Calder Bookshop and Theatre until 3rd November

 

Previously reviewed at this venue:
Inga | ★★★★ | November 2018

 

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Verde, Agua y Luna
★★★½

Calder Bookshop and Theatre

Verde Agua y Luna

Verde, Agua y Luna

Calder Bookshop & Theatre

Reviewed – 3rd May 2019

★★★½

 

“a condensed taste of his profoundly sincere and expressive creativity”

 

With both Spanish and non-Spanish speakers in mind, ‘Verde, Agua y Luna’ (Green, Water and Moon) is an immersion in the imagery and emotions of Federico García Lorca. Born in Granada in 1898 and executed by Nationalist forces in 1936, it was as a pianist that he found his first artistic outlet. Taking to writing in his late teens, he revealed an intensity and passion in poetry and plays which drew in elements from the rawness and purity of nature, being steeped in his traditional musical heritage and showing an openness to avant-garde influences. Rather than adopt the more emblematic characteristics of ‘cante jondo’ (a primitive Flamenco song style) or Andalusian culture, often found in his works, this piece distils the essence of three key words which represent Lorca’s recurring themes of love, death, desire, sexuality and repression of freedom. Even though he was lucky enough to be creating alongside compatriots such as film-maker Luis Buñuel, artist Salvador Dalí and composer Manuel de Falla, the suppression of his homosexuality and liberal thinking produced deep-rooted anguish, apparent in the melancholy and tragedy of his writing.

Luis Gayol and Maria Estévez-Serrano perform their own blend of Lorca’s texts which illustrate the motifs as spirits invading his thoughts in the hours before his death. Simultaneously, a stylish projection by Enrique Muñoz Jiménez translates the intrinsic parts of this narrative, showing, towards the end, examples of Lorca’s own drawings. There is resourceful use of the small space and simple but effective details in the versatility of the costumes (Jenny Hobson). For someone who doesn’t understand the language, it has an impressionistic feel, a musical immediacy in the sound and rhythm and interesting visual ideas, particularly from some very evocative lighting (Enrique Muñoz Jiménez), but it lacks depth. The programme notes help to make sense of the concept but cannot enhance the drama. Only in ‘Agua’, in a poignant performance from Maria Estévez-Serrano, do we appreciate the nuances of her thirst for life through Lorca’s portrayal of women stifled by their constrained lives. It is a more engaging and moving enactment for those who speak Spanish, though Luis Gayol’s accent and demeanour make for an unusual image of the poet.

The tiny theatre hidden, in Narnia-esque fashion, behind a curtain at the back of the Calder Bookshop is part of the evening’s discovery. ‘Verde, Agua y Luna’ is an enriching but different experience for everyone, depending on their familiarity with Spanish, its culture, its history and Lorca’s literature. If somewhat academic in approach, it is a condensed taste of his profoundly sincere and expressive creativity.

 

Reviewed by Joanna Hetherington

 


Verde, Agua y Luna

Calder Bookshop and Theatre until 18th May

 

Previously reviewed at this venue:
Inga | ★★★★ | November 2018

 

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