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Written by Matt Andree Wiltens
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Thursday, 05 November 2009 23:04 |
I was to attend a play at The Basement; a place where I’ve been many times before, mostly to see quality performances, but also a place which I really don’t fit into well. It is a strange world of skinny jeans, assorted 1960’s hats and black-painted-brickwork. It is an underground, studenty, artistic kind of place; so it goes without saying that my t-shirt with an orange butterfly on it... well it stood out.
I was at The Basement to see AUTOBAHN – a short-play cycle. And just what the frick is a short-play cycle? I wondered the same thing myself and happily, I can now report that it is one play made up of a series of short ones. In this case, six short-plays all set in cars.
For the most part it’s unimportant that each of these vignettes is based in a car, they could just as easily take place on a bus, or on a park bench... or even waiting in line at a Joseph Gordon-Levitt convention. (I know deep in my heart that if I just believe hard enough, I can make such dreams come true.)
What is important, as we find out in the final scene when the brilliant Annie Whittle wraps everything up into one neat package for us, is that by joining each couple in their car, we are essentially breaking into a sealed cocoon. Private conversations are opened up to the public and dirty laundry is aired.
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Written by Sian Rafferty
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Monday, 02 November 2009 12:10 |
‘LOOT’ harks back to the days when you could tunnel into a bank, hide the cash in a bag with a huge money sign on it... and still be home for tea. A time when women of no means could be expected to attach herself to a man of means regardless of his age, and would have never have been considered a gold digger; simply a successful young woman. A time of black and white television, and police inspectors who roll up and said "ello, ello, what have we here?" Yes, they were simpler times indeed.
‘Loot', the new play from the Silo Theatre Company presents everything that was good about the saucy, un-politically correct days gone past. And the results are definitely sometimes shocking, sometimes perplexing, but at all times belly-slappingly funny. The general premise is this: McLeavy (David McPhail), an aged Catholic Irishman and his son Hal (David Van Horn) have just lost their respective wife and mother. On the day of the funeral, Hal and his partner-in-crime Dennis (Charlie McDermott), needing somewhere to stash some cash from a recent bank robbery, come up with the ingenious plan of hiding the money in the coffin. Mixed up with it all is Fay McMahon (Mia Blake) the late Mrs McLeavy’s nurse who has designs of her own with the newly single master of the house. To cap it all off, is the snooping and sneering Inspector Truscott (Cameron Rhodes) who comes along with his pipe and magnifying glass to sniff around the house. Trust me, hilarity ensues.
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Written by Sian Rafferty
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Tuesday, 29 September 2009 15:28 |
Like Icarus, Ruben Guthrie tried to fly. Icarus flew with wings made of feathers and wax; Ruben flew with vodka and coke. Like Icarus, Ruben fell... and his high-rolling life of excess, ground to a stop with one fell swoop. The eternal fall of humankind, one moral of ‘RUBEN GUTHRIE', is one which has echoed throughout the hallowed halls of history. Remember Eve? ‘Don’t touch the apple’. Hell, Macbeth was only so bad because he started out so good. There is nothing as seductive as the good guy gone bad. Yet, does this leave anything for the bad guy gone good?
After his fated fall from the high-life, Ruben (Oliver Driver) vowed to stop. No longer would he leave the Viaduct clubs at four, smelling faintly of vomit and cologne. He would treat his beautiful (and younger) model girlfriend with respect, and they would live happily ever after in his waterfront apartment with harbour views. Unfortunately for Ruben, going sober isn’t that easy.
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