DramaDublin Theatre FestivalIrelandReview

DUBLIN THEATRE FESTIVAL: Come Away with Me to the End of the World – Samuel Beckett, Dublin

Writers: Heather Bolton, Beth Buchanan, Adriano Cortese, Raimondo Cortese and Patrick Moffatt

Director: Adriano Cortese

Reviewer: Ciarán Leinster

Come Away with Me to the End of the World certainly contained the kernel of an intriguing idea, but regrettably it was lost in its own self-willed ambiguities. Heather Bolton, Beth Buchanan and Patrick Moffatt wander throughout a desolate stage, discussing their likes and dislikes, proclivities and foibles. The problem is, they never say anything interesting enough to warrant our attention, and only one register, a mixture of amused and wry regret, is used throughout.

The backdrop is a crudely painted Australian gum tree, and cardboard cut-outs of mountains are moved onto the stage halfway through. These help to create the most evocative scene, as the actors huddle around a fire as if atop a freezing peak. While this atmosphere is created skilfully, it only serves to enforce the fact that very little of concern, to anyone, is being said on stage.

There is one moment that breaks up the fairly interminable nothingness that the actors recite, a tarantella danced by Buchanan and a trio of dancers, but while it relates to the conversation that had just been occurring, it still was in no way interesting enough to perk anyone up.

Patrick Moffatt is the most charming of the three, unnamed characters, and has clearly been given the best lines. He is the most wistful, with more than a hint of regret in every word, but he still can’t get near the meditative, dreamy mood the show strives for.

The fundamental problem with this show, quite simply, is that nothing happens, and not in an Absurdist Beckettian fashion; instead of nothing happening, twice, just nothing happens. There is no change in tone or character, no revelation, and nothing is learnt, either by the characters, or the audience.

Runs until 1 October 2017 | Image: Contributed

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