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.