Reviewed by Judd Hollander
Playwright Enda Walsh examines those caught up in situations of oppression and loneliness with his works
In Rooms, a performance piece presented by the
, the audience is led into a space containing three separate yet distinct areas. The cluttered bedroom of a six-year old child; the faded and musty-smelling hotel "Room 303"; and a long, narrow galley style kitchen. Said kitchen almost antiseptic in nature until one starts to look inside the cupboards and appliances. The audience getting the chance to ingest the particulars of each location while listening to the disembodied voices of those who were once the occupants. Irish Arts Center
In Arlington, set in a future time and done in a more traditional theatrical manner, a young woman named Isla (Charlie Murphy), has been alone in a locked room for over 20 years, and continually monitored for all that time. She spending her days in a never-altering routine, all the while hoping the number she was assigned will finally be called, thus signaling the end of her confinement. Or at least offering her the chance to go somewhere else.
On this particular day however, things are suddenly different. Starting with an unexpected burst of sound, followed by a strange voice coming over the loudspeaker. The voice belonging to a Young Man (Hugh O'Conor) who is Isla’s new observer. His task being to monitor her actions to the smallest detail via the microphones and surveillance cameras strategically placed about the room. Most importantly, his task is to keep Isla occupied so she won't have too much time to think about what's happening outside her area of confinement.
The irony here is that for the first time since Isla can remember, she's the one who’s in charge. She having been there so long, she knows exactly the path the conversation with her monitor is supposed to take. Her new keeper, for want of a better word, being too busily trying to acclimate to his position to take control. As a result, the two begin to connect on a level far more personal than Isla ever did with her previous observer. It also becomes quickly apparent that while the Young Man is monitoring Isla, someone else is monitoring him. As made clear by an ominous beeping. One which sounds whenever he strays too far from his pre-assigned duties.
Where the different spaces of Rooms are filled with minute details - from a model of the solar system on the ceiling of the child's bedroom; to a Gideon Bible in the hotel room; to broken dishes in the kitchen - Isla's space in
has a completely antiseptic feel to it. Her room containing a plastic plant and chair, an empty fish tank - with water but no fish - and harsh white lighting. The attempt here being to empty the room of any personality whatsoever. Arlington
Tautly presented and fascinating to experience, the two plays focus on individual freedom, as seen through different points and circumstances in people's lives. Isla wants nothing more than to leave her prison, and the constant everyday repetition her life has become. Meanwhile, the now-grown woman who lived in the little girl's room once upon a time, would do anything to return there after being in the outside world for so long. In the kitchen, a housewife threatens to have a meltdown over how her life has turned out, but finds herself unable, or unwilling to change her circumstances. In "Room 303", after a long and checkered life, an aging man is dying alone. Yet he is not yet ready to close his eyes forever and give up the fight. Be his enemy time or a very persistent fly that keeps coming around.
In Rooms the choices one has made in life is up to each individual. In
, that choice has been taken away entirely. Something Isla learns when she is unexpectedly afforded a glimpse of what is happening, and what has happened, beyond her enclosure. She seeing the effects of a society determined to protect people from themselves. The full explanation of this, when it comes, is devastating. Arlington
In the end, the only thing worth holding onto for any of the people presented is the belief that they matter. To themselves, if no one else. It is their continual attempts to reassure themselves of this fact which forms the crux of both pieces. Walsh also showing that perhaps the only true escape is through own dreams. It being the one place the harshness of reality cannot reach. At least not yet.
Murphy is excellent as Isla, a woman long since resigned to her situation, until circumstances beyond her control present her with a new outlook. O'Conor is very good as a man used to doing what he's told and not making waves, until the chance to observe Isla first-hand offers him new insights on what just what he's involved in.
The most compelling fact of all is that each of the characters presented - be they seen in the flesh or only heard - feel totally real. Walsh, who also handles the directing chores in
, strongly combining the oppressiveness of the various situations with glimmers of hope. A hope which flickers brightly at some moments only to be harshly extinguished in others. Arlington
Presenting varying viewpoints of an individual standing alone against the harshness that life and circumstances can bring,
and Rooms show quite clearly that what ultimately matters is the spirit within. Both shows will leave you thinking hard about what you’ve seen, which is just about the best thing a work of theatre can do. Arlington
by Edna Walsh
"Room 303" (featuring the voice of Niall Buggy)
"A Girl's Bedroom" (featuring the voice of Charlie Murphy)
"Kitchen" (featuring the voice of Eileen Walsh)
Presented by the
at Cybert Tire, site of the future home of the Irish Arts Center Irish Arts Center
Originally presented at Galway International Arts Festival
Running Time: 50 Minutes
June 4, 2017
Written and directed by Edna Walsh
Featuring: Charlie Murphy (Isla), Hugh O'Conor (Young Man), Oona Doherty (Young Woman), Eanna Breathnach, Olwen Fouéré. Helen Norton, Stephen Rae (Voices)
Choreographer: Emma Martin
Composer: Teho Teardo
Designer: Jamie Vartan
Lighting Designer: Adam Silverman
Sound Designer: Helen Atkinson
Video Designer: Jack Phelan
Associated Sound Designer: Joel Price
St. Ann's Warehouse
Tickets: 718-354-8779 or www.stannswarehouse.org
Running time, 90 minutes, no intermission
May 28, 2017