Magill’s last tape: Siren Theatre Co’s Misterman

First staged in 1999, Enda Walsh’s Misterman is a tour-de-force monologue which twists and turns, before punching us in the gut. Directed by Kate Gaul at the Old Fitz theatre, it is a harrowing and entertaining play about one man’s crusade to bring God to the townfolk of Inishfree.

The play – or monologue, if you prefer – is the story of Thomas Magill, played with relish by Thomas Campbell. Magill is an unstable man in his mid-thirties and, like in Beckett’s Krapp’s Last Tape, much of the interactions between characters in Walsh’s play come from banks of reel-to-reel tape recorders scattered around the set. With echoes of Beckett, Dylan Thomas’ Under Milk Wood, and James Joyce’s Ulysses – in that it is one man’s journey through a town over the course of what could be a day – Walsh’s (very) blackly comic play builds to a terrifying conclusion.

See me, feel me: Griffin Theatre Company’s Caress / Ache

In 2005, Nguyen Tuong Van was executed in Singapore, having been convicted of drug trafficking. Immediately prior to his execution, the Singaporean government declared that he could not hug or be hugged by anyone, including his mother. Inspired by this event, playwright Suzie Miller wrote Caress/Ache, a play which in its world premiere season at the hands of Griffin Theatre Company gains a new and pertinent resonance by the pending fate of Andrew Chan and Myuran Sukumaran in Indonesia. However, for a play about the need for connection and touch between people, there is a curious lack of connection between text, performers, and our emotions.

The night I was turned into a white mouse*: Griffin’s The Witches

Every child reads Roald Dahl at one point or another at school. Anarchic and more than a little bit brilliant, Dahl’s stories operate in a world where children are victims and heroes, where adults do bad things, and there is danger inside every glance, every smile and every heartbeat, but more than anything else, Dahl’s stories are about the unexpected, and revel in a kind of child-like logic where everything can be something equally different, unique and brilliant. Perennial favourites include Matilda, James and the Giant Peach, Charlie and the Chocolate Factory and, my favourite, Danny the Champion of the World. Dahl’s books have also undergone a resurgence in recent years, with several making the transition from the page to stages around the world: Tim Minchin wrote the music and lyrics for the RSC-produced musical of Matilda; Sam Mendes directed a musical of Charlie and the Chocolate Factory; and now The Witches bursts onto Griffin Theatre Company’s tiny Stables theatre just in time for the school holidays.

And what a play it is.

Brief candles: Bell Shakespeare’s Macbeth

…out went the candle, and we were left darkling.
King Lear, I.4.197

Macbeth is without doubt one of Shakespeare’s most popular plays, not to mention one of the shortest; it is also his most claustrophobic and (literally) darkest. Yet despite its immense popularity, there is a robustness to it that withstands this very proliferation – no matter how many cuts or omissions are made to it, the inherent thrilling downward spiral of it still stands intact, as Macbeth drags everyone down with him, fighting all the while. Presented here by Bell Shakespeare for a schools audience, this Macbeth is characterised by a bleakness and minimalism, a blasted heath signifying nothing, and is as malleable and as changeable as Macbeth’s moods and visions. Emerging out of the darkness of the bare stage, Shakespeare’s words bounce out at you in a tale “full of sound and fury.”