Adapted for the Stage by: Audrey Devereux
Director: Anthony Fox
Behind Connolly Books in Temple Bar is a stunning little theatre called The New Theatre. When you arrive, you’re welcomed into the bookshop and shown to the theatre in the back by their friendly and welcoming staff. Adapted from Melissa Holbrook Pierson’s memoir, The Perfect Vehicle is a play that is mostly in monologue. With just two people on stage, the memoir is brought to life depicting her love of motorcycles from her first ride to her dream trip. From the moment she appears on stage, we are locked into Melissa’s (Jessy Danner) story. In a broader sense, she is also telling the story of women in the motorcycling world dealing with misogyny and belittling and not letting it dispel their love for these machines. With its straightforward narrative and fluid temporal shifts, the play is easy to follow. The script is further elevated by some excellently timed and well judged humour at key moments.
Jessy Danner and Ruari Nicholl are the only two people on stage throughout. They work seamlessly together. They are a well aligned duo with an effortless rapport. Danner’s performance is captivating. She commanded the stage with a presence that was both organic and purposeful. Her nuanced delivery of the dialogue portrayed a transparency of emotion and managed to expose the character’s vulnerability without compromising her underlying resolve. Nicholl’s performance was an excellent portrayal of an actor’s ability to switch between roles. Costume pieces were used to visually show the transition. Nicholl however, embodies each character he portrays with a distinct accent and body language for each. Each character felt like their own unique person and it was almost difficult to believe that they were all being performed by the same person. Ultimately, he turns something that could be a technical challenge into natural and compelling storytelling.
The set design by Martin Cahill masterfully depicts the contradictions between the aspects of Melissa’s personality. By dividing the stage into distinct environments there is a visual dialogue created between Melissa’s femininity and her more rebellious spirit. Melissa’s apartment is stage left. The use of patterned wallpaper, painted furniture and more feminine colours establishes a warm environment and an attempt at a curated environment. However, her wallpaper is peeling slightly, as is the paint on her chairs. There is a neat pile of books on Melissa’s table, including the memoir the play is based on. It’s a pleasant touch to remind those who notice it of the roots of the play. Centre stage, and the largest portion of the stage, is the garage where Melissa’s beloved motorcycle lives. We move from the softness of her apartment to a more utilitarian style. The motorcycle itself almost acts as a character throughout. It’s used as a physical prop throughout, but also a symbol of freedom. There are small depictions of brick in the grey walls of the garage, just enough to create texture without cluttering the sightlines of the set. Stage right is a workshop with a corrugated wall, introducing an industrial element to the set. The table in the workshop is strewn with motorcycle parts suggesting a constant ongoing project.
Ultimately, this show is a masterclass in storytelling. A lack of unnecessary clutter allows the actor’s versatility and the script’s clarity to take centre stage. Highly recommended for fans of character driven drama. The play’s seamless transitions and richly textured set create an immersive experience that stays with you long after the final bow. It is a vibrant, polished look at a life in motion that shouldn’t be missed.
Runs Until 28th March 2026.
