Nun’s Island Theatre, Galway Theatre
Festival
Oct 29-30
My review of
Siobhán Donnellan’s two one-act plays Chasing Butterflies and In
the Garden coming up just as soon as I look like my grandmother ...
Nothing violates
our abilities for rationality more than the indiscriminate occasion of death, a
truth gently rendered in Siobhán Donnellan’s Chasing Butterflies, the first half of Dragonfly and Bluepatch’s
Galway Theatre Festival duet.
As Annie Caryford
recalls the image of Mary becoming a young woman, wearing a red dress and a
golden necklace, we see the pride in her eyes with which she cherishes her
daughter. Big Story Hannigan fondly remembers how his son left jars in the
garden in hope of capturing the butterflies. These are the memories each parent
has chosen to remember their children by after a tragic night when one child
killed the other.
Donnellan’s play
gives powerful glimpses into this unconceivable pain, effectively conveyed by
tender and devastating performances by Martin Maguire and Donnellan herself. Director
Aoife Connolly surrounds the monologues with a tense blustering soundscape and a
choreography where simultaneous movement adds scenic urgency. We flinch with
the thought that these two shattered bodies might collide in their geometric
wanderings of the stage, choosing to unleash their aggression and obliterate
the other. However, in aligning their accounts separate from each other, with
no forensic exposition to reveal how the tragedy occurred, Donnellan suggests
that both children, whether alive or not, are victims of an illogical ‘darkness’,
and that this perspective is perhaps of the most comfort to a parent grieving
the loss of a child.
If this ‘darkness’
can give way to a ‘light’, it is suggested in follow-up piece In the Garden, where the accounts of two
individuals residing in some kind of Eden trickles down through a series of stage
glimpses. Again, Donnellan charmingly
skips down the dark path, revealing the sad lives lived by these unconventional
individuals, and in the presentation of their shared lack of human connection
suggests a companionship that is possible beyond death. Donnellan and Ben
Mulhern deserve mentions for their quirky but human performances, along with
Connolly’s risky decision to stage the play as a series of stills, inciting an
audience to deconstruct events without compromising the momentum of the
narrative.
From Dragonfly
and Bluepatch’s double-bill we are left with stories bittersweet and universal.
Donnellan’s might as a writer lies in her articulation of the dalliances of
temporary lives, some to be celebrated and others not, and the devastating
result of when such life is snatched away. Connolly continues to be a stand-out
director at Galway Theatre Festival, spelling out performance spaces where nuances
are to be cherry-picked, deconstructed, and re-rendered in the spectator’s own
theatre experience. Their collaboration suggests that the circumstances by which meaningful connections are made can be just as confound as the occasion
of death itself.
What did everybody else think?
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