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Quietly – 3 Stars

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Quietly

Quietly

Omnibus Theatre

Reviewed – 12th October 2018

★★★

“This is a play that is made by the tension built by the actors on stage – unfortunately, this tension feels very manufactured and almost hollow”

 

Patriotism, religion and masculinity. These are up for dissection in Owen McCafferty’s ‘Quietly’. A pub in Northern Ireland – one like any other – is the scene of two gentlemen meeting. Their lives are separate, apart from one harrowing event in history. One that neither of them can change, but can they resolve and forgive?

The script is cutting and very raw. Raw in the sense that it presents very violent and disturbing images in a forward way, so that we as an audience cannot avoid the dark part of history he is trying to explore. Lighting (Amy Daniels) is understated but elegant, shifting purposefully with moments of the play throughout. The sound design (Rachael Murray) with the incorporation of sounds from technology and the brilliant use of voice-overs as a way of telling various parts of the story, is inspired.

Overall Matt Dunphy (Robert), Paul Lloyd (Jimmy) and Nick Danan (Ian) do a decent job in presenting the text to us in a lively sort of way. This is a play that is made by the tension built by the actors on stage – unfortunately, this tension feels very manufactured and almost hollow.

What hinders the play is the rushed pacing and the lack of silences. The actors seem almost too eager to get their lines in, which caused some running over each other and some stumbles. Ultimately, this ruined the lasting effect this show could’ve had. It would be better to let this show breathe a bit, let the tension build with a few more awkward silences (there is room for plenty) and for the actors trust what has been given to them.

Direction (James O’Donnell) is lacking. Two out of three lead performances felt very simple and one-dimensional. The one that does shine is that of Dunphy who is gifted with some wonderful humour through his track. He delivers in the moments he is utilised and it’s a shame that he isn’t used more.

I’m not saying that ‘Quietly’ is a bad show, but it’s not a good show either. It is distinctly average but has the potential to be great. With a few tweaks here and there, this could be a strong piece that really packs a punch. I hope that one day it does reach its potential because the material deserves it, the story deserves it.

 

Reviewed by Shaun Dicks

Photography by Stephanie Claire

 


Quietly

Omnibus Theatre until 27th October as part of the Irish Season

 

Also reviewed from the Irish Season:
To Have to Shoot Irishmen | ★★★★ | October 2018

 

Click here to see more of our latest reviews on thespyinthestalls.com

 

 

Review of The Turn of the Screw – 4 Stars

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Screw

The Turn of the Screw

Omnibus Theatre

Reviewed – 8th December 2017

★★★★

“a piece of theatre which is both hauntingly familiar yet timeless”

 

Henry James’ The Turn of the Screw, first published in 1897, is a story that captures the zeitgeist of the late 19th Century. An era charmed by superstition, madness, and the early writings of Sigmund Freud, James’ novella is a tale of a house held together by belief, seduction, and childhood secrets. An unnamed governess travels to a country house to take care of two children, Flora and Miles, but soon shadows from the past return to disturb the idyllic setting.

Screw

Jeffrey Hatcher’s excellent adaptation, Directed by James O’Donnell, draws on the universal themes of innocence and corruption, and childhood terrors, creating a piece of theatre which is both hauntingly familiar yet timeless. On entering Omnibus Theatre’s intimate black box space the audience is confronted with a lone wingbacked armchair and a bookcase of old tomes, the set of all good storytelling, instantly drawing the audience in and setting the moody tone of the piece. The style of this minimalist set (Paul Lloyd), combined with simple yet sympathetic spotlighting (Simon Gethin Thomas), is sensitive to the era and allows focus for the naturalistic performances to shine through.

This two-hander is performed by Ruth Ollman, playing the Governess, and Nick Danan who skilfully takes on the roles of Master, Housekeeper, and the child Miles. Ollman gives a strong yet understated performance, lending the Governess a captivating and curious stillness. Despite scenes of heightened emotionality she never loses the audience by venturing into the realms of melodrama. Danan is mesmerising to watch, flawlessly flitting between the sweet and retiring Housekeeper and the seemingly sinister Miles, providing the audience with genuine chills. These transitions allow for the suspense to build and for tensions to be broken, giving the audience fleeting moments of psychological relief. The pair’s ability to add flashes of humour also provides contrast and lightness to this otherwise dark and troubling tale. Despite a few fumbled lines both actors gave compelling performances, using James’ lyrical language and a diary entry structure to lead the audience seamlessly through the twisted plot.

With a timeless tale, subtle staging and captivating performances, Strange Fish Theatre Company have produced a wickedly good yarn for modern day audiences.

 

Reviewed by Matthew Arthur

Photography by Simon Gethin Thomas

 

Omnibus Theatre

 

The Turn of the Screw

is at the Omnibus Theatre until 16th December

 

 

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