Writer: Leo Hanna
Director: Finbarr Doyle
In its way, Let’s Try Swingin’ is one of the more structurally traditional shows of this year’s Dublin Fringe Festival. But that should in no way act as criticism of what is a wonderful 70 minutes in the theatre, that revels in the ambiguities of contemporary sexual life, while extracting wonderful performances from each of its performers. Leo Hanna’s script prompts a deliciously entertaining play which uses the classic devices of farce theatre.
Jim (Barry Simpson) and Lily (Anne O’Riordan) are due to host their first swingers’ party, but are too concerned about the symbol they need to leave outside their front door – a pineapple, in case you were wondering. There are points in this first scene that are stilted and awkward, as the audience laugh over the pair’s jokes – don’t they know how funny this script is??
Flora (Emma Dargan-Reid) and Tadgh (Ben Waddell) soon join them, a couple that despite being younger, have no more experience in swinging than Jim and Lily. The frustrations amongst and between each couple are soon visible, with the awkward Jim providing the sternest opposition to the plan of the play’s title – nevertheless, the plan eventually goes off without a hitch, leaving three quarters of the couples revelling in their debaucherous evening. It should be said, though, that all 4 performers contribute equally to what is a wonderfully enjoyable show.
There is an element of stereotyping, as the adventurous women overshadow the anxious and heteronormative men, but this is only ever derived from the characters themselves. While Lily and Flora seem anxiously excited, Jim is jealous, and Tadgh has to drink himself into comfort. This is to be the undoing of the story, as each man takes an excessive, if not deadly, volume of Viagra, leading to wonderful physical humour.
The structure used is that of the classic sex farce, and as such characters both outstay their welcome, and find convenient excuses to leave rooms at a moment’s notice. Overlaying the entire piece is an awareness of and interest in the class, sexual, and gender distinctions of the 21st century – the differences between each couple are relayed in unsubtle yet entirely believable character profiles, and at no stage do we feel the shenanigans onstage emerge from any other source than the characters. A wonderful, sexy farce.
Runs Until 21st September 2024.
The Review's Hub Score
Farcically fantastic
