Writer: Callum Maxwell
Director: Lee Coffey
A tale of two brothers finally united.
Two brothers on one tiny stage (toeing the line between intimate and claustrophobic) – Matthew was given up by their Mam 30 odd years ago, whereas young Michael has had her all to himself the last 19 years. Navigating the emotions and questions that come with such a discovery proves to be an overwhelming task for this little piece of theatre.
The rhyming verse that starts off the show is at times uncomfortable to watch. Theatre that involves talking to/at the audience doesn’t feel like theatre, it was at times like the actors were competing in stand-up. I wanted to go up and turn them towards each other – it’s the reactions and engagement with each other that would’ve made this show far more impactful and potentially moving. Both actors are evidently talented, however the script does not give them the space to spread the dramatic wings that they obviously possess. Leneghan in particular is a strong performer but his impressive timbre and physical presence are stifled by the diminutive stage. The little 80s sing along was a welcome relief, but also felt like an intentional sidestep from the heavier aspects of the piece.
The pacing of the show was too quick at times, it felt like they were sprinting through the material (reminiscent of Enda Walsh’s Disco Pigs / Ballyturk) – giving the audience little time to feel Matthew’s pain or Michael’s insecurity.
Kathy Ann Murphy’s set design, which includes a large cross being projected on the wall, impresses upon us the weight of the Catholic church in Ireland, particularly at the time of Matthew’s adoption. However, this weight is only acknowledged in passing. For a play that’s core themes are adoption and brotherhood, the emotional vacuity in the piece is disappointing. With further fleshing out of the emotional material within it there could be a strong show here.
Runs Until 10th August 2024.
The Review's Hub Score
Two brothers united
