Letters of a Country Postman: John B Keane’s Adaptation Takes Us Back To The Future Post-Hurry

If I say this program is about the spread and control of information; on how shady folk use crooked methods in monitoring commoners; on how the desire for communication and information constitutes a major driving force in life; As for how these portals are high profile figures in the community, you’d think I’m describing a up-to-the-minute play on the internet.

no, but this is an accurate description of John B Keane’s Letter from a country postman, originally a comedy novel published 45 years ago, here adapted and directed by Sophie Motley. Contemporary similarities are found in this production, especially in Pai Rathaya’s design, which features a web made of rope with letters attached to it.

But while elements of the tech world are identified in the director’s notes, it’s not enough with them in production to give Keane’s writing a rather distinctive character.

The narrative style blends narrative with dialogue, vividly creating the oddballs that populate the town of Ballyfee. Performer Madi O’Carroll is incredibly versatile: a vampire charms one minute, a nosy postman grazes open letters the next. Chloe O’Reilly transforms from an abandoned wife to a violent rookie postman with great style; Her drunken postman is a highlight. Tadhg Hickey is best known for his humorous sketches on the internet, but in the heart of Mocky Fondoo, he feels too subdued. Musician Danny O’Mahony plays the accordion brilliantly throughout, adding a layer of buzzing folk energy. He tells a fascinating origin story about one of his instruments. The show culminates with an energetic céilí: the cast dances and the audience joins the performance, learning a song.

This is Motley’s first directing contract since taking over as artistic director of The Everyman. It is a complex attempt to emulate both the past and the present. This show is sure to appeal to a traditional audience – it’s witty, heartfelt, and highly entertaining. It will suit tourists with its rich folk-drama values. But in order to deliver the work towards a newer audience, bolder is required. There is a comforting security in looking back at the past, but John B Keane, in his day, always had a sharp eye for the future.

Youth drinking is a great pleasure until it doesn’t

I Could Have Been A Dancer At The New Theater, Dublin
until Saturday, October 20

This solo show, scripted by Seán Tanner, offers a glimpse into the young man’s mind with no purpose. Shane emerges from school because of his academic failure and teams up with his partner Ger, a college dropout, with a grueling day life working and drinking at night, occasionally hallucinogens are included.

Partying of youth is full of crazy fun, until he begins to find himself “crawling with invisible mice” in the morning.

The title refers to a childhood talent for Michael Jackson-style dancing, the only time in her life Shane felt she excelled.

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Actor David Greene is attractive as the lost specimen of his youth. Sean Kobina’s compositions run through, an impressive array of mood-altering electronic music, from high-energy tech to captivating hallucinogenic sounds. Director Michelle Lucy assesses the emotional level as well as Shane falls into a state of extreme grief, and this is quite moving. But while the play conveys the pain of drinking to the point of suicide, it never finds any real insight into the condition.

What we got was a chronicle of the experience, much of it stylishly written; what’s missing is illumination. An outburst of his mother left him feeling odd and unmotivated. We see Shane suffer, and he evokes our sympathy, but we never really know him.

https://www.independent.ie/entertainment/theatre-arts/letters-of-a-country-postman-john-b-keane-adaptation-brings-us-back-to-the-future-post-haste-41920808.html Letters of a Country Postman: John B Keane’s Adaptation Takes Us Back To The Future Post-Hurry

Fry Electronics Team

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