FestivalsIrelandReview

A Version of Life — Trapdoor Theatre, Dublin Fringe Festival 2024

Reviewer: Riley Glaister-Ryder

Writer and Director: Robert Power

This year’s Dublin Fringe Festival saw the theatrical debut of A Version of Life, a play by Irish playwright, musician and multi-media artist Robert Power. The production ran from September 12-14th at University College Dublin’s Trapdoor Theatre, presented by the Creative Futures Academy.

Running at just 60 minutes, A Version of Life is a medium-blending, one-man show which spotlights a version of Robert Power, played by the real Robert Power, presenting what the creator himself describes as, “An alternate version of a life, or a lived experience, or a lived reality, or more of a ‘blurring’ of reality.” It’s a meta-theatrical work, a production which begs one question, of many: which parts of ourselves do we commit to art, and what does one do when the art demands more?

This version of Robert really wants two things: to be a real artist — by which he means a painter — and to not be alone. Instead, you watch as he meanders around his cluttered room, fiddling with unfinished works and grumbling over the commercialisation of his semi-successful musical career. All along, he confides his worries in Valerie — an omnipresent AI robot, voiced by fellow Irish artist Electra Grant.

The fixed set (designed by Power, with artwork by Grant) is both Robert’s living quarters and a mausoleum of his life as an artist. From haphazardly stacked papers, half-finished sketches, albums on vinyl and every musical instrument needed to make up a full band (minus the people) to old pizza boxes and clothing strewn about, the things which surround Robert clue you into more details about his enigmatic life beyond these figurative four walls. Then there’s Valerie, or “Val,” as Robert affectionately calls her, who lives in a computer onstage, but whose voice is above and around at all times, whenever Rob needs her. A screen behind the stage projects further visual aids for the show, such as messages Robert receives, pictures from his life, and videos of outside musical or film projects.

The show begins in much the same way it continues, as Robert vents to Valerie about the possible commodification of one of his songs, instructing her to ignore his manager’s incessant calls. While this point of contention runs throughout the play, Robert only finds more things to take up issue with; reluctant to pin himself down, he is more or less drifting in life. The show blends creative mediums, with Robert sitting down at the piano or standing with an acoustic guitar to play unreleased, unfinished songs, seemingly unaware of the crowd before him.

There are unexpected moments of comedic relief which stick like pinpoints throughout the show; at his father’s funeral, Robert performs a version of the eulogy he would write in a thick Scottish accent, seemingly mimicking his father’s over-the-top mannerisms. We are nearly flashed via video message from one of Robert’s friends in Iceland; in one exchange with Val, Robert instructs her on the vernacular of the word “cunt”; in another, Robert’s manager (Nikkita Hamar Patterson), returns the favour with a prickled video response to his message. There are serene moments, too: Power’s musical prowess is highlighted throughout the show, basked in blue or green lights as he strums or plucks through an acoustic version of one of his original songs. He attempts to score a video montage of his time in Iceland, transfixing the audience with scenes from a land faraway captured on the stage backsplash.

Throughout the production, Robert seems to be asking — Val, himself, us, the world — What if? What if he does this, instead of that; what does that change? Each question is pointed at a certain unfinished project, and each fades away without resolution. That is the central framework, or lack thereof, of this play: there is no traditional structure, no climax or resolution; it is just life, a version of it, playing out before us.

With Val being the only of the two who is aware of the audience’s existence, there’s a voyeuristic sense to being a member of the audience at A Version of Life. You feel as though you are an unwanted spectator on this conflicted man’s private woes. Yet, within that voyeurism, there is a comfort; there is solace in witnessing the inner conflicts and loneliness of another, knowing you are not alone, at least in that feeling.

A Version of Life will tour in 2025.

The Review's Hub Score

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The Ireland team is currently under the editorship of Laura Marriott. The Reviews Hub was set up in 2007. Our mission is to provide the most in-depth, nationwide arts coverage online.

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