Writer: Elizabeth Moynihan
Director: Liam Halligan
Rekindling after the death of their mother, sisters Bridget (Rachel Dowling) and Frances (Sorcha Furlong) come together to hash out old times, which leads to a heavy discussion surrounding their current and past woes including transitioning, addiction and grief. The preceding lack of communication led to this verbal battle of “my woes are greater than yours”, however, through this discussion these sisters realise just how much they need each other. Happiness Then…is an intense one-act comedic drama perfectly suited to Bewley’s Café Lunchtime Theatre.
From the beginning there is clear tension between these sisters as they bicker over if their late mother’s carer got too much inheritance. This dual uneasiness quickly escalates as Frances gives the first blow explaining that her husband has decided to transition. It then becomes evident that Frances and Brigid are two sides of the same coin needing their sibling bond in order to overcome or face their “obstacles”. Both Dowling and Furlong were perfectly cast in these roles having a very secure grip of their character and their antics. They glorify the archetypes of older and younger sibling syndrome with Dowling perfectly encapsulating the uptight, controlling, perfectionist older sister and Furlong emanating the fun, wine tipsy, karaoke aunt.
Furlong and Dowling controlled the text very well when there were times the performance was edging on melodramatic understandably due to the high stakes content. The chosen location of the play comes up as a question of the engagement’s authenticity and makes one wonder how much farther their actions would go if it was set in either’s home. At times the bickering sister dynamic feels worn out and over-accusational. However Happiness Then… encourages those familial rejoices to be had and raises valid questions on society’s approach to love, family and seeking of a happier time.
Although smart artistic choices were made, for a play that handles so many topics on motherhood, sisterhood and femininity, the decision of having a male director is sceptical. Praise must be given to scenic design (Eoin Lennon) with set pieces intimidating the high end location and well-laced props insinuating some very much needed retail therapy. Very clever detail in costume design (Toni Bailey) enhances this sisterly bond with pink being a common denominator. Bridget’s restrained and controlling nature was conveyed through a dark tone power suit contrasting against France’s nonchalant wine stained vibrant jumpsuit.
The cabaret layout of the theatre perfectly suits the environment, nudging the piece into a site-specific setting, dismissing the raised stage, allowing the actresses to freely break the fourth wall and disrupt their fellow attendees luncheon. The format allowed the piece to be completely encapsulated by its audience giving the opportunity to be perceived at every angle as these women clamour about their lives in grave detail. This device was underused but understandably due to the sensitive subject matter at which point the comedic drama lost its laughter.
Runs until 12th April 2025.
