Writer / Performer: Leonor Bethencourt
Marilyn Monroe may be the most-discussed pop culture figure of the 20th century – there will never not be a market for t-shirts, posters, or tote bags with her image, and people will always be keen to watch or read some version of her life, whether a straight biography or the recent Blonde (2022), based on the Joyce Carol Oates novel of the same name. This year marks what would have been Monroe’s 100th birthday, on 1st June, so we can expect a slew of articles, documentaries, books, performances, and any other conceivable content based around her in the next 6 weeks. Leonor Bethencourt’s “Marilyn Monroe Walking Tour of Dublin” fits this niche nicely, as she guides her attendees around some of North Inner-City Dublin’s landmarks, drawing connections and parallels with the Hollywood icon. Some of the connections are tangential at best, but overall it is delivered with a knowing sense of fun, and genuine passion, which makes it a very pleasant way to spend a sunny 90 minutes in the city centre.
Meeting outside McDowell’s jewellers on O’Connell Street, Bethencourt draws our attention to the neon light display above the shop – not only is this the place where Bethencourt’s grandparents got their wedding rings, but she also tells us that in one of Monroe’s early films, Ladies of the Chorus (1948), she appears under a similar sign. Bethencourt then gives a rendition of “Every Baby Needs a Da-Da-Daddy,” showcasing a wonderful singing voice that cuts through the busyness of the first sunny Saturday afternoon of the year.
This beginning is indicative of what’s to follow – we hear a little bit about Bethencourt’s personal life and history, a little bit about Dublin’s literary or political history, and then she links the topic to Monroe. Scenes from Don’t Bother to Knock (1952) are compared thematically with the ending of “The Dead” (1914) while standing outside the Gresham, where James Joyce’s great story has its conclusion. This is particularly evocative, while the web that links to Orson Welles and the Easter Rising, with Monroe at the centre, is less strictly relevant, but is still a good yarn.
While probably aimed at tourists, there is also fun to be had in trying to guess how Bethencourt draws links from certain Dublin people, places, and events to Monroe – Charles Stewart Parnell creeps up on you and feels obvious in retrospect, the Lady on the Rocks at Dublin Moulding is just about acceptable, and the Pike Theatre is stretching it to such an extent that you appreciate the effort.
Bethencourt’s performance is filled with enthusiasm for both Monroe and Irish history, and she has created a unique, engaging project that will interest both tourists and locals. There was a certain unpolished nature to it, which will likely be ironed out during the run, but she is a pleasure to spend time with and learn from.
Runs Until 14th June.
