John Duddy and Laoisa Sexton in FOR LOVE. Photo by Trevor Murphy. |
When
Laoisa Sexton’s one act play For Love
had its very short-lived world premiere at the 1st Irish Theatre Festival last
September, it was named a “Pick of the Festival” by Irish Examiner. Cahir
O’Doherty, reviewing it for Irish Central,
called it “the strongest debut by an Irish writer I have ever seen.” Since I missed that opening (there were only
four performances), I was delighted to learn that the play would enjoy a
somewhat longer run at Irish Repertory Theatre on West 22nd Street in midtown
New York this year (especially since I’m generally enamored of Irish theatre
and I’ve long been a fan of the IRT).
And so it was that I went to see a performance of For Love – and on the day of the St. Patrick’s Day Parade, to boot! My expectations were high.
Sad
to say, I was a wee bit disappointed. To be sure, the play is well written and well performed. But that is not enough. For Love is pointedly described as taking place in modern day Dublin
during a period in which “Ireland is experiencing one of the greatest economic
downturns in its history,” which led me to believe that I was about to
experience something quintessentially Irish (what with it being the Irish
Repertory Theatre and an Irish playwright and St. Patrick’s Day and all). But, in fact, once one cuts through the
actors’ brogues and learns the Irish slang and references in the play (the
program provides a fine “cheat sheet” for that purpose), there really isn’t
anything particularly Irish about the play after all.
Indeed,
the tale of three thirty-something, love-deprived, and sexually frustrated women
in Dublin – Val (Jo Kinsetta), Tina (Georgina McKevitt), and Bee (Laoisa Sexton,
the playwright herself) – could have taken place in New York or Cleveland or almost
any other place you might imagine (in good times or in bad), rather than during
an economic downturn in Dublin, and nothing would have been lost. Bee, who had a love child when she was
sixteen, is now on the verge of becoming a grandmother herself and is seeking
to recapture her lost youth (even if it is with a married man). Her friend, Val, lacks even the solace of a
child; her life has somehow slipped away from her and the likelihood of her
ever having a husband and a family of her own (rather than a series of one
night stands) seems to diminish daily.
Tina is married but that doesn’t appear to matter; she seems to derive
more pleasure from shopping and self-gratification than from her marriage. And although all three women perform well, there’s
nothing particularly Irish about any of it.
The
play calls for several male roles as well – Aidan, One Night Stand, Club Guys,
Bartender – but the playwright has specified that they all be played by the
same actor (in this production, he’s John Duddy) as if to underscore the fungibility
of men. In one or another of those
roles, it’s he who interacts with each of the women.
It
may be argued that what disappointed me most about the play – what I perceived
as mundane and platitudinous events in ordinary lives that take place every day
all over the world – was actually the play’s strength. That is, its depiction of unloved, sexually
deprived women in economically depressed Dublin might be viewed as just the
symbolic portrayal of a universal condition.
But even if one looks upon it that way, the play still fell short for
me: what it still required was a more developed story line that would
distinguish the lives of these three women from those of so many others. Lacking that, we still were left with little
more than some good theatrical performances but with no real insights into the
lives of the characters on stage.
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