During October, T and I have seen a play a week. We’ve
enjoyed being avid theatregoers. All of the plays we saw are featured in the
Belfast Festival. They all have been very different in their approach and some have
worked much better than others.
We started off with ‘The Night Alive’ by Conor McPherson
at the Lyric. Despite the excellent acting, Adrian Dunbar and Laurence Kinlan
in particular, and direction, a series of well staged exits and entrances to a scruffy
bedsit in Dublin, I came away disappointed. The characters were all somewhat
stock: the struggling antihero, his devoted best mate, the tart with a heart,
the father figure, the threatening outsider. Too much time was spent building
the two central characters, which we know anyway, and not enough on the development
of the other characters who remained as sketches. The drama of their
interactions suffered as a consequence. Conor McPherson is very good at
dialogue and is an excellent director, but I felt there was a much better play
straining to get out.
Next was ‘The Curious Incident of the Dog in the
Night-Time’ at the Grand Opera House, based on the book by Mark Haddon and
adapted for the stage by Simon Stephens. I have nothing but praise for this
play: a compelling story told from the point of view of an autistic teenager that
is very well acted, an extremely innovative square set with spectacular back
projection, fantastic sound and lighting design, and excellent direction that
took us from the garden of a house in Swindon to Central London. No wonder this
play has won a series of major theatre awards in London and New York. We rarely
get touring theatre of the highest calibre in Belfast. Well done to the Belfast
Festival for helping to bring the National Theatre here. The play was almost
sold out a month beforehand and we only managed to get seats in the gods.
Finally we saw ‘To Break the Window of Opportunity’
by Campo at the MAC. This was experimental theatre from a pair of young Dutch
performance artists: a spare set with a painted rear canvas of a desert with cultural
icons inserted into the landscape, odd home-made wooden props that were brought
onto stage and animated in unusual ways by the two performers, excellent sound
design and no speech at all. It was like seeing a strange silent movie that
presented a series of cultural rituals and then subverted them in interesting
ways. I found it curious and stimulating. There were only about twenty people
at the performance we attended. The play deserved much better than that.
It’s been a fine way to spend our weekday evenings,
I came away feeling that we needed to do this more often.