The Pinot Princes – Omnibus Theatre, London

Writer: Lorraine Mullaney

Director: Deirdre Daly

Entering the unusual traverse layout, audiences are immediately immersed in the dual worlds of a cluttered fringe theatre dressing room on one side and a solemn church altar on the other. The ambience is set with the aroma of incense as a nun-like figure conducts a church ritual. The play opens with a ‘provocative’ scene featuring a wine-worshipping parody of the Hail Mary prayer by the Virgin Mary, before this character slut shames the audience.

This opening establishes the framework of a play within a play, where struggling actor Pinot explores her complex relationship with Catholicism and her mother by putting on a ‘scandalous’ performance about the Virgin Mary. As she embarks on a journey to liberate herself from the confines of Catholicism, we delve deeper into how her past experiences have moulded her character, as revealed through introspective post-show reflections. Simultaneously, we witness her gradual detachment from her actor boyfriend as she becomes increasingly consumed by her personal quest.

Mullaney’s bold and original concept disrupts conventional perceptions of Catholicism, probing the effects of spiritual trauma and reimagining iconic figures. Through skilful employment of metatheatre, Mullaney invites audiences to investigate thematic explorations, weaving between on and off-stage narratives to infuse the story with pace and dynamism. The play is sprinkled with witty remarks, providing essential moments of relief amidst the drama. However, at times, the central conflict surrounding Pinot’s reconciliation with her mother feels somewhat repetitive and lacks sufficient development in this relationship.

Actors Pamela Flanagan and Neal Craig are adroit in portraying the symbiotic relationship between the characters they embody and the actors portraying them. While their heightened performances effectively amplify the humour, there are instances where it dilutes the gravity of the underlying drama, and their on-stage chemistry occasionally lacks depth. In tandem with Daly’s directorial vision, the decision to emphasize the significance of Pinot’s mother in shaping of the play within the play early on, inadvertently diminishes the impact of pivotal moments within the storyline.

With refinement and nuance, this distinctive narrative possesses the potential to offer refreshing insights into the complexities of Catholicism.

Runs until 14 April 2024