The winner of ‘Best Picture’ at the recent Oscars ceremony, The Hurt Locker, will be screened at 8pm in CRAIC Theatre tomorrow night (Wednesday 31st March). The Hurt Locker was up against films such as An Education, The Blind Side and Avatar.
For reviews of the film by Kevin Maher and Peter Bradshaw, click below:
http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/film_reviews/article6812589.ece
http://www.guardian.co.uk/film/2009/aug/28/the-hurt-locker-review
Tuesday, 30 March 2010
Sunday, 28 March 2010
REVIEW: The Sign of the Whale (CRAIC Theatre, Saturday 27th March)
Written by Jimmy McAleavey, The Sign of the Whale is the latest play based on the Troubles in Northern Ireland. A theme which is a staple of Northern Irish playwrights, it seems that it is one that will remain for some time, despite split opinion over whether or not pre-occupation with the Troubles in the arts should continue into the noughties.
This play takes an original approach, one that audiences have yet to see, as it centers on the arrival of a whale to Belfast in the midst of the Troubles in 1977. Although it took this reviewer a while to rest upon this theory, the theatrically contemporary set could be viewed as the belly of the whale. As the play progresses, this theory becomes all the more believable as it is as though Dermy (the sub-editor) and Tony (the teenager) become totally consumed by the whale in a metaphorical sense. The set appears to act as a literal representation of this obsession, and it works well in doing so.
Dermy and Tony are blind, and both actors are remarkably convincing in acting this out, particularly Miche Doherty who plays Dermy. Doherty is superb throughout, never faltering or losing character but consistently excellent with his emotion, paranoia, and humour. The fusion of humour and tragedy is what audiences have come to expect from plays based on the Troubles, due to playwrights such as Martin Lynch and Marie Jones, and this piece by Jimmy McAleavey is no exception. Dermy provoked quite the laughter eruption in impersonating his wife saying, “I married a rich tea biscuit dressed up as a wagon wheel”.
Paranoia is a big part of this play and this is conveyed through the actors’ behaviour and the dialogue, particularly in Dermy’s descriptions of where it’s safe to walk and what religion a person is if they’re seen walking up Castle Street or down Divis Street.
The play is broken up by news reports played by two actors behind a screen at the back of the stage. These were a welcome distraction from the intensity of Dermy and Tony, and brought with them a light heartedness that was needed to keep the audience engaged.
For this reviewer, the most effective part of the play was in the second half when Dermy and Tony leave Belfast as they know it and look into its future. This is achieved by Dermy pretending to open a door at the front of the stage and once its opened the future is revealed as the audience sitting in 2010.
The impressive acting, effective sound and lighting, and originality is what makes this play a success. However, anyone expecting a traditional narrative with a clear storyline will be disappointed.
This play takes an original approach, one that audiences have yet to see, as it centers on the arrival of a whale to Belfast in the midst of the Troubles in 1977. Although it took this reviewer a while to rest upon this theory, the theatrically contemporary set could be viewed as the belly of the whale. As the play progresses, this theory becomes all the more believable as it is as though Dermy (the sub-editor) and Tony (the teenager) become totally consumed by the whale in a metaphorical sense. The set appears to act as a literal representation of this obsession, and it works well in doing so.
Dermy and Tony are blind, and both actors are remarkably convincing in acting this out, particularly Miche Doherty who plays Dermy. Doherty is superb throughout, never faltering or losing character but consistently excellent with his emotion, paranoia, and humour. The fusion of humour and tragedy is what audiences have come to expect from plays based on the Troubles, due to playwrights such as Martin Lynch and Marie Jones, and this piece by Jimmy McAleavey is no exception. Dermy provoked quite the laughter eruption in impersonating his wife saying, “I married a rich tea biscuit dressed up as a wagon wheel”.
Paranoia is a big part of this play and this is conveyed through the actors’ behaviour and the dialogue, particularly in Dermy’s descriptions of where it’s safe to walk and what religion a person is if they’re seen walking up Castle Street or down Divis Street.
The play is broken up by news reports played by two actors behind a screen at the back of the stage. These were a welcome distraction from the intensity of Dermy and Tony, and brought with them a light heartedness that was needed to keep the audience engaged.
For this reviewer, the most effective part of the play was in the second half when Dermy and Tony leave Belfast as they know it and look into its future. This is achieved by Dermy pretending to open a door at the front of the stage and once its opened the future is revealed as the audience sitting in 2010.
The impressive acting, effective sound and lighting, and originality is what makes this play a success. However, anyone expecting a traditional narrative with a clear storyline will be disappointed.
NEWS: Marie Jones world premiere in CRAIC Theatre
Marie Jones’ latest play Rock Doves is set to premiere in CRAIC Theatre in Coalisland on Friday 9th and Saturday 10th April. A new play directed by Jones’ husband Ian McElhinny, the world premiere of Rock Doves will bring acclaimed actor Adrian Dunbar to the Coalisland stage.
Famed for plays such as A Night in November and Stones in his Pockets (both of which played the West End and Broadway), Jones has never shied away from controversial issues such as suicide, sectarianism and rejection. However, her trademark lies in her ability to entertain as well as pack a punch. Rock Doves adheres to her previous form and deals with a serious subject matter in the typical witty and moving style that theatre goers have come to expect.
Rock Doves plays out entirely in a derelict house on the edge of a working-class housing estate in Belfast, where the community is controlled by the criminal element that has blossomed since the ceasefire. The play centres around the characters of Knacker, the boy, Bella and Lillian. Knacker is a tramp who lives by his wits but is possibly more sane than those in the real world around him; The boy, who remains nameless, is on the run from paramilitaries whom he has betrayed; Bella has lived on the streets for years but has been given a safe haven in the community, provided she lets her house be run as a brothel; Lillian is Bella’s transvestite brother who is protected only by the fact that he does a drag act as Tina Turner.
The play is a family affair with Jones having written it, her husband directing, and their son Matthew playing the part of the boy. Along with Adrian Dunbar, the play also stars Carol Moore and Ian Beattie.
This play is the first production for Rathmore Productions, which is a company set up by Ian McElhinny and Marie Jones to promote new work.
Tickets are available to purchase for £12 from the CRAIC Theatre Box office on 02887741100.
Famed for plays such as A Night in November and Stones in his Pockets (both of which played the West End and Broadway), Jones has never shied away from controversial issues such as suicide, sectarianism and rejection. However, her trademark lies in her ability to entertain as well as pack a punch. Rock Doves adheres to her previous form and deals with a serious subject matter in the typical witty and moving style that theatre goers have come to expect.
Rock Doves plays out entirely in a derelict house on the edge of a working-class housing estate in Belfast, where the community is controlled by the criminal element that has blossomed since the ceasefire. The play centres around the characters of Knacker, the boy, Bella and Lillian. Knacker is a tramp who lives by his wits but is possibly more sane than those in the real world around him; The boy, who remains nameless, is on the run from paramilitaries whom he has betrayed; Bella has lived on the streets for years but has been given a safe haven in the community, provided she lets her house be run as a brothel; Lillian is Bella’s transvestite brother who is protected only by the fact that he does a drag act as Tina Turner.
The play is a family affair with Jones having written it, her husband directing, and their son Matthew playing the part of the boy. Along with Adrian Dunbar, the play also stars Carol Moore and Ian Beattie.
This play is the first production for Rathmore Productions, which is a company set up by Ian McElhinny and Marie Jones to promote new work.
Tickets are available to purchase for £12 from the CRAIC Theatre Box office on 02887741100.
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