24 A RT S & E N T E RTAIN M EN T
SIN Vol. 18 Issue 07
DRAMSOC IN REVIEW
Léirmheas ar Rogue One: A Star Wars Story The Tempest Le Mícheál Óg Ó Fearraigh
Review by Aisling Bonner
Stiúrthóir: Gareth Edwards Aisteoirí: Felicity Jones, Diego Luna, Alan Tudyk, Ben Mendelsohn, Mads Mikkelsen, Donnie Yen, Riz Ahmed, Jiang Wen, Forest Whitaker
The Tempest opened with what can only be described as an explosive 4D cinema-like experience with strobes, smoke and sounds that electrified the audience to attention. It was something unlike anything I’d experienced in a theatre before, completely immersive and intense – a real technical spectacle. How a production could reach its peak in the first thirty seconds, and retain this level throughout was a lesson director Róisín Eyres was about to teach the four audiences of this sell-out production. A story comprising of love, betrayal, family, and a sprinkling of magic, The Tempest is regarded as Shakespeare’s last play. When a boat becomes shipwrecked on an island, its passengers are met with the vengeance of the magician Prospero, the usurped Duke of Milan seeking revenge. Aided by the spirit Ariel, Prospero wreaks havoc amongst his shipwrecked usurpers and simultaneously drafts a love story for his daughter Miranda. With a cast of eighteen students, almost unheard of for a Dramsoc show, the interior of NUI Galway’s Bank of Ireland Theatre was completely renovated for this production. Facing the door through which they entered, the audience were seated in a U-shape around the new stage area, allowing the actors full use of the upper gantry and foyer area of the theatre. The many dimensions created by this bold staging greatly enhanced the production, and the action sprung up in places unknown, toying with the audience. The gantry above was draped with fishing nets and shells, and showed clever shadowprojections depending on the
Má tá suim agat i Star Wars beidh suim agat sa scannán seo. Ar an chéad dul síos tá sé tábhachtach a thuiscint go bhfuil an scannán Rogue One: A Star Wars Story ag tarlú i ré atá roimh Star Wars (1977)/ Star Wars Episode IV: A New Hope agus tá sé bunaithe ar na ceannaircigh a mbíonn ag lorg na pleananna don ‘Death Star’. Sa scannán leanann muid Jyn Erso (Jones) a n-éarcaíonn na ceannaircigh le cuidiú leo na pleananna seo a fháil. Earcaíonn siad Jyn de bharr gur Galen Erso (Mikkelsen) a hathair, agus gur é an príomh-innealtóir ar an Death Star, agus measann siad go mbeidh sí ábalta an t-eolas a fháil uaidh. Tá dúil mhór agam sa choincheap a bhaineann leis an scannán seo agus tá súil agam go ndéanfaidh lucht Star Wars agus Disney níos mo scéalta mar seo sa todhchaí. Tá an scannán seo iontach suimiúil mar go dtaispeánann siad an cogadh a bhí ag dul ar aghaidh ag an am sin i gcruinne Star Wars; tá na carachtair uilig fíor shantach agus ag díriú isteach go hiomlán orthu féin. Chuala mé daoine ag rá nach dtagann athrú ar na carachtair ó thús go deireadh an scannáin agus nach bhfuil an fáth a ndéanann siad gnímh airithe iontach soiléir. Tuigim cén fáth a ndéarfadh daoine seo ach níor chur sé sin isteach ormsa agus bhí go leor suim agamsa iontu ó thús go deiridh. Tá an cliar iontach maith go háirithe Donnie Yen, Jiang Wen, Alan Tudyk agus Mads Mikkelsen, an t-aon locht atá air nó nach bhfaigheann siad go leor ama ar an scáileán. An rud is fearr fá dtaobh don scannán seo ná an comhrac: tá troideanna ar thránna, i lár cathracha agus amuigh sa spás, tá an troid amuigh sa spás ar an cheann is fearr a rinneadh i spás in aon sraith roimhe seo. Déanann an stiúrthóir Edwards obair iontach ag taispeáint an scála do chuile rud, tá cuma níos mo agus scáfara ar an ‘Death Star’ ná mar a bhí riamh. Fosta tá tú cinnte agus tú ag amharc ar an scannán go bhfuil na carachtair uilig i ndainséar agus go dtiocfadh le duine ar bith acu bás a fháil. Is cinnte go bhfuil an scannán seo níos fearr ná na réamhscéalta a tháinig amach idir 1999 agus 2005 agus níos fearr ná Return Of The Jedi ach ní shílim go bhfuil sé chomh maith le Star Wars, Empire Strikes Back nó Force Awakens ach is iadsan cuid de na scannáin ab fhearr liom riamh. Conclúid: Má tá suim agat i Star Wars agus scannáin cogaidh ba chóir go mbeadh suim agat sa scannán seo. 8/10.
scene. A large rock below worked well as the focal point of the set however, the unused kitchen setup in the corner seemed a little unnecessary and its presence was confusing at times. Visually delightful and incredibly creative, Clíodhna Hallissey and her costume department thoroughly outdid themselves with this show. With a wealth of fabrics, materials and colours, each costume stood out in its own way. The mermaid-like scales of Ariel, teamed with her cable-tie neckpiece and white and fishnet robes enhanced the mysteriousness of her character. Likewise, Prospero’s elaborate multi-coloured cloak, and lighting crystal staff added to his magic. Just as no costume disappointed, neither did its wearer. Extremely well-rehearsed, and with a noticeable understanding of their character, each cast member oozed energy, emotion and confidence. While all actors held their own on the stage, standout performances were aplenty. Gráinne White in the male role of Prospero commanded attention with her inspired facial expressions and gestures. Her perfect diction and convincing understanding of the words were consistent throughout, allowing her to fully embody her character. The audience loved her. Orla Tubridy playing the spirit Ariel also showed this consistency of character. Her unpredictable nature was enthralling as she went from manic cackling to silent focus, moving in slow-motion but with complete precision. Meadhbh Lyons and Oisín McDonagh in the roles of the weary drunkards Trinculo and Stephano provided the very welcome comic relief in the play with ease. By adding modern twists to their delivery, they cleverly appealed to the predominately student audience, leaving them
in convulsions. Their contrast to the lion-like monster Caliban, played by Charlotte Nate, gave an added dimension to these moments of comedy, as Nate provided a sinister element evoked through her captivating delivery and agility on stage. Delia Keane (Miranda), Davin McGowan (Ferdinand), Mark Fitzgerald (Sebastian) and Tomás Clayton (Antonio) also delivered noteworthy performances. Overall, it was an unbreakable cast and a testament to Eyres’ direction. In a production of this size, executed so smoothly, the most credit is deservedly due to director Róisín Eyres, aided by her stage manager, Niamh Ní Fhlatharta. The accumulation of lighting, sound, set, costumes and a tightknit cast was seamless and I had to constantly remind myself that it was student-run. The brave choice to ignore gender specifics in casting this play was pulled off unquestionably, and gave many characters an interesting quirk. With a number of sub-plots and complicated conspiracies, this storyline was difficult to follow, making the comedic moments even more welcome throughout. While some of the longer monologues provoked utter confusion, they were countered by some modern directional interpretations which brought the audience back on track. In the same way, Fergal Breen’s beautiful original score with its memorable recurring themes set the focus, and proved highly atmospheric. His music was just another welcome dimension to this well-rounded production. Dramsoc’s production of The Tempest was less a play than a theatrical experience, inviting the audience into its world. With its visual sublimity, stunning soundtrack and captivating acting, it truly was such stuff as dreams are made on.
Gee Whiz! Review by Saoirse Rafferty “Geeeeee WHIZ! Why not enjoy it with a cool and refreshing coca cola?” I admittedly cringed a tiny bit every time these corny lines were repeated throughout the play – but from the moment the lights shone on stage and I heard ‘Go Johnny Go’ by Chuck Berry I fell in love with the production written by MA student at NUI Galway, Alice Keane. At the beginning of this play I tried my best to be critical, but from the beginning of the play I loved it. I entered into a world of black and white, literally. The cast were spray painted grey and dressed in black and white; blending in to the stage set. I was amazed at how brilliant the characters were and how much effort must have been put into the production. Glasses of whipped cream were convincing enough to make me crave a milkshake, and the Jukebox added to the diner scene. The play was based in an American black and white 50’s television show called ‘Gee Whiz’, a world where characters must perfect the show re-runs for Gee Whiz, a world of constant routine. That is, until three Irish teens from a ‘colour’ television programme called Rollies (similar to English programme Skins), end up in the Gee Whiz TV station. The main character ‘Gee’ (Patrick Conneely) was the star of his own television show and did an outstanding performance in the play to portray his enormous ego. Anyone who has the ability to show and hold a range of facial emotions without blinking is definitely an actor. However, the star of this show was Katie Lernihan who played Linda. She was truly wonderful and nowhere near as annoying as Missy (Kate O’Mahony) who fainted
at the sound of the word ‘drink’. There was something brilliant that caught my eye about each unique character; whether it be the Author TV (authority of TV) played by Stephen Mc Ginty and Jack Fitzgerald, or Marty who loves milk (Oisin Mc Donagh) or even the ability for the audience to feel Missy’s irritating personality. The contrast between the Irish and American characters was overly exaggerated but quite humorous. Fist pumping vs Jiving, Rollies vs Milkshakes, colour vs non-colour, the list goes on. The audience loved it, with a small personal stage the actors really engaged with the audience. Alice Keane’s clever storyline reminded me of the hit Disney movie Wreck it Ralph, a film where characters have a similar ability to move from one screen to the next. A storyline that is definitely far easier on film than on stage. The play had hilarious inner monologues, punny jokes and a grumpy old hunchback man who mirrored a typical traditional elder. The facial expressions kept by Old Man Jenkins (Sean Harvey) were superb, I couldn’t help but laugh anytime I saw his face. The Irish characters made the play with the private jokes, constant cursing and idiotic statements that we could all relate to. However, there were hidden traits throughout the play that suggested it were made for a young modern audience; ‘dem hips doh’, ‘Got Milk?’ or even the mentioning of Game of Thrones. These were the jokes that made the audience laugh out loud, literally. This is a play about the importance of change, how sometimes trying something new is better than doing the same thing every day; even if you mess up in the process. The Irish teens give the Americans guidance and try to show them how there is a life outside of their television personas. As stated by the play writer Alice Keane, everything was definitely ‘exciting!’
SIN BOOK CLUB PREVIEW: 1984 by George Orwell By Sorcha O’Connor George Orwell’s 1984 is one of those books I’ve been advised to read many a-time. Orwell’s prophetic dystopian novel has been referenced to again and again in articles I’ve read – and of course, lent the name Big Brother to the well-known TV series. The book is set in the future, a future that apparently may be more likely than we care to believe - I remember a friend of mine telling me it was a must-read and how they had drawn so many comparisons from it on how we live our lives today; how perhaps we don’t
have Big Brother watching over us, but how we willingly give over our information and access to the mic and photos on our phones to download the latest apps. It sounded intriguing but somehow or other I just didn’t get around to reading it, and so it sat on my toread list till this Christmas - when someone finally did me the favour of giving me a copy. As I have mentioned, Orwell is imagining a future in which people’s every move is seen by Big Brother, who, to my understanding, is a governmental watchdog intruding in through a TV screen in every home. If
we cast our thoughts over our modern world, we can unfortunately compare this to the knowledge shared with us by Edward Snowden, who shed light on intrusions by the NSA onto civilians’ technological devices. It seems that foresight was a particularly strong suit of Orwell’s and I’m excited to get stuck into the novel. I’m also aware that the term “Thought Police” is from this book – and again it strikes me that this too may have been prophetic on the part of Orwell. I’m not fully sure exactly what the Thought Police are as of yet but I have to
admit the name alone reminds me of the ongoing battle for freedom of speech in our world today. Do you ever feel that you are being coerced into thinking a certain way by your peers, by online sources, by news outlets? It started happening me of late. Whether we like to believe it or not, most of the articles we click on our aimed at us through use of algorithms and it can in turn create an echo chamber of our news sources, when all we read are in line with our own beliefs. I could be way off with this theory, but it seems from the little knowledge I have from conversing with
friends, Thought Police are symbolic of this decline of thinking for ourselves in society today. I might be growing cynical, but there is only so many celebrity news stories a girl can take before you begin to wonder if there’s something amiss... Right. Enough from me. Come back in two weeks’ time when I am sure to have become even more cynical and disillusioned with the world. In the meantime why not pick up your own copy of this Orwellian classic and read along, and see if this highly esteemed work is all it is cracked up to be?