Tag Archives: Ronan Raftery

“The Silver Tassie” at the National Theatre

You are warned before entering the National Theatre’s new show, The Silver Tassie, “contains loud explosions, pyrotechnic effects and gunshots”. They aren’t kidding. Howard Davies’ production really is explosive – all credit to the technical crew and a team of designers – but all the whizz-bang effects can’t distract from the conclusion that it’s a tricky evening out.

Sean O’Casey’s play about World War I is famously difficult to stage. Though the story of sporting hero and winner of the eponymous trophy Harry Heegan is simple enough – showing his experience of war and then life as a cripple afterwards – the undoubtedly powerful language is complex and the influence Expressionist. I suspect it reads better on the page than it could possibly be delivered on stage.

And the hugely experienced director Davies, who I normally admire so much, does little to aid the delivery of O’Casey’s poetry. The cast seems lost on stage, struggling to fill the space no matter how dynamic the language. There seems little chance to form a connection with the characters. And as for the second act…

On the battlefield Davies uses noise, lights and explosions in an attempt to create a frightening, surreal world. It’s an honest attempt to deal with O’Casey’s experimentation. Unfortunately the action is incomprehensible and alienating. Theatregoers know war and song can go hand and hand (the recent revival of Oh! What a Lovely War makes an uncomfortable contrast with this show) but here, despite Stephen Warbeck being on board for the music, the results seem pretentious and almost farcical. Placing an emphasis on singing, surely it would have been wise to cast some strong vocalists?

THE SILVER TASSIE national theatre
Ronan Raftery

Should you decided to return after the interval, and I am sure many will not, you will be rewarded as the play returns to realism. There’s a fine performance from in the lead role. Now in a wheelchair and full of fury, Ronan Raftery is commanding and dedicated. There’s also strong acting from Harry’s former fiancée, played by Deirdre Mullins, and a fine double act from comedy commentators Sylvester and Simon (Aidan McArdle and Stephen Kennedy). But the script deliberately lacks coherence and Davies embraces this flaw. Without those explosions to keep you awake this is just a confusing bore.

Until 3 July 2014

www.nationaltheatre.org.uk

Photo by Catherine Ashmore

Written 24 April 2014 for The London Magazine

“Unscorched” at the Finborough Theatre

As the winner of the prestigious Papatango New Writing Prize, Luke Owen gets his first play, Unscorched, staged at the Finborough Theatre. Packing in the critics last night, the scene is set to judge the script, and it’s easy to see why it won as it’s a strong piece. But just as impressive are the performances from two players: Ronan Raftery, who takes the lead role, and his love interest, played by Eleanor Wyld.

Back to the playwright. Owen’s unsavoury subject is child abuse, with the action based around an office where pornography is analysed in order to assist the police. We know it’s an unpalatable job; the first scene, with a brief but emotive performance from Richard Atwill, brilliantly shows a worker having a breakdown because of the traumatic material he is exposed to.

Enter our new recruit Tom (Raftery). With the bravest of intentions, the long-serving Nidge, performed capably by John Hodgkinson, mentors him. Seemingly immune to the horrors he watches, Nidge makes us aware of the toll this necessary work takes. And Tom is carefully watched by his boss, who has a “buddy” approach to management that strikes a jarringly comic tone. George Turvey convinces in this role, pointing out the therapeutic potential of an Xbox and promoting paintballing – as if these really could be solutions.

It is the romantic writing, about Tom and his new love affair, which is best and highlights Owen’s intelligent voice. As with the main subject matter, the relationship is written in an admirably understated fashion. Careful to avoid prurient touches, it feels authentic and shows the effects that working in such a horrible field have on ordinary people and this likeable couple in particular.

Satisfying as it is, the relationship Tom starts out on could have been even more of a focus to the play. A series of (too) brief scenes start to become a touch frustrating. Perhaps the direction from Justin Audibert could have been slightly tighter. The astoundingly efficient set from Georgia Lowe works hard but time is taken up preparing for very short scenarios so it feels as if the play needs a bigger stage. Although given the quality of the writing and performances, it surely deserves one.

Until 23 November 2013

www.finboroughtheatre.co.uk

Written 1 November 2013 for The London Magazine

“Juno and the Paycock”at the National Theatre

This new production of Sean O’Casey’s Juno and the Paycock is the first collaboration between the National and Dublin’s Abbey Theatre. It’s the quality affair you might expect – a classic play with an impressive cast that is scrupulously directed.

It is the story of the Boyle family, poverty stricken, living in an Ireland divided by political turmoil. O’Casey’s husband and wife team, known by their mythically inspired nicknames, are such charismatic characters that their plight packs a real punch. Their children, Mary and Jerry, also have demons to battle with, fighting for independence in very different ways and subtly conveying problems O’Casey’s society faced. The family’s troubles seem about to be ended by an unexpected financial windfall – but circumstances and politics catch up with them.

The strongest aspect of the production is the performances on offer. Ciaran Hinds’ Jack Boyle really is the magnificent peacock-like character his appellation claims – strutting around the stage and fooling nobody except himself. Ronan Raftery’s excellent portrayal of his son, broken physically and emotionally, couldn’t be a stronger counterpoint. O’Casey’s female roles are cherished amongst actresses and both Sinéad Cusack and Clare Dunne are superb. Dunne plays the daughter, bringing out the beauty in O’Casey’s language. With Cusack, this poetry becomes a prayer as the family disintegrates around her.

Bob Crowley’s design reflects the squalor Dublin’s magnificent Georgian terraces were reduced to in the 1920s, but we have little sense of the overcrowding suffered from. The set seems overblown and the same could be said for the humour; there are moments in Juno and the Paycock where conditions don’t seem that bad – the camaraderie O’Casey hints at is occasionally overplayed. But, for the most part Howard Davies direction is assured – the plot speeds along, embracing the thrilling story line, and the tragedy of the play is deeply moving. If Davies’ impeccably careful work disappoints it is really because it contains no surprises. This is a conservative affair that is easy to respect but difficult to fall in love with.

Until 26 February 2012

www.nationaltheatre.org.uk

Photo by Mark Douet

Written 18 November 2011 for The London Magazine