Review: One Belfast Landmark Inspires Five Irish Monologues

Review: One Belfast Landmark Inspires Five Irish Monologues

Overview: One Belfast Landmark Conjures up 5 Irish Monologues

Maureen has worn the flawed footwear — one in all every from two totally different pairs. So she’s hiding in a toilet stall, phoning a pal for some emergency footwear.

As quickly as she hangs up, she begins to soften down, flashing again to the mortifying episode, a long time earlier than, when as an excessively assured 11-year-old, she tried a nursery rhyme as a drama class monologue.

“That is Humpty Dumpty another time,” she says, however this time it’s as a result of one thing has damaged in her life that can not be put again collectively.

Such is the setup for Sarah Gordon’s rollicking “Occupied,” the one full-on comedy in “Underneath the Albert Clock,” a wonderful program of 5 brief audio monologues from the Lyric Theater in Belfast. Directed by Rhiann Jeffrey, with sound design by Chris Warner, it’s a part of the Origin 1st Irish Theater Competition.

The New York-based Origin Theater Firm commissioned the sequence, asking 5 feminine playwrights in Northern Eire to make use of as inspiration Belfast’s landmark Albert Memorial Clock (a monument to Queen Victoria’s husband, and thus an emblem of Britishness), and to put their performs in 2050.

Inspecting ingrained animosity and ignored goodness, “Occupied” will get darkish for a bit once we study the rationale that Maureen (Gordon) is so rattled, however the prevailing word is humor harking back to the Netflix sequence “Derry Ladies.”

This system opener, Alice Malseed’s “Haven,” is the one play right here that feels awkwardly fitted to a immediate. Its narrator is Julia (Maggie Cronin), who owns a pub underneath the clock and spins a story of greed, gentrification and candy vengeance on generations of male brutality.

Emily DeDakis’s forebodingly futuristic “The Backyard of Remembrance for Bygone Phallic Symbols” transports us to the plains of jap Colorado. This, the caretaker Sally (Sarah Reid) tells us, was as soon as the landscaped dumping floor the place a backyard sprang up: dwelling for all of the world’s banished phallic towers. The Albert Clock, after all, was amongst them.

It’s a bit about feminism, patriarchy and the hazards of ideological militancy — about misjudging magnificence as menace, and tearing down wholesale what others would possibly use to construct upon. Even this monologue, although, has dying in it; surprisingly, all 5 do.

The specter of it’s constructed into Fionnuala Kennedy’s grim satire, “A Dummy’s Information to Making a Martyr,” through which a personality named X (Caroline Curran) has determined to explode the Albert Clock. In her eyes, she can be committing “an motion of affection.”

“This isn’t sectarian,” she insists, self-righteously. “This can be a cross-community bombing.”

Gina Donnelly’s “Perhaps if We’d Stayed Offended” makes an eloquently considerate companion piece. In it, a widow (Abigail McGibbon) on the grave of her murdered spouse rues the refusal to acknowledge acts of violence between Protestants and Catholics as a part of a battle that by no means stopped. They disagreed on this, she and her lifeless spouse, with out ever hashing it out.

“I by no means had the struggle with you that I needed to have,” she says. “I assumed I’d have it now.”

And so she does, with quiet magnificence, fueled by grief and love and a long time of wounded fury.

Underneath the Albert Clock
Via Jan. 25; origintheatre.org

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