L-R: Kate Lydic and Hamish Allan-Headley in THE BELLE OF BELFAST. Photo by Carol Rosegg. |
Virtually
everyone in Belfast in 1985 (whether Catholic or Protestant, young or old) was
affected by the Irish “troubles,” although the manner in which they attempted
to cope with their predicaments varied widely from person to person. For one it might be religion; for another,
alcohol or drugs; and for yet a third, sexual rebellion. Thus, Ben Reilly
(Hamish Allan-Headley), raised to be a good Catholic but orphaned as a young
boy when his parents perished in a car crash, eventually became a mild-mannered
Catholic priest, taking solace in his religious faith and certain that his
parents, looking down upon him from Heaven, were pleased with the path he had taken. Dermott Behan (Billy Meleady), on the other
hand, another priest with whom Ben shared living quarters in later life (but
one who was much angrier and fiery than his clerical roommate) found solace of
a different sort: he sought comfort in alcohol.
And Anne Malloy (Kate Lydic), who also was orphaned at a very young age
when her parents were blown up as collateral damage in an IRA terrorist explosion,
thereby becoming martyrs to their cause, found an entirely different solution:
she acted out as a sassy, rebellious, promiscuous, seductive teenager,
ultimately engaging in the most damaging sexual behavior.
.
Anne
is the central character in The Belle of
Belfast written by Nate Rufus Edelman and directed by Claudia Weil,
produced by the Irish Repertory Theatre and currently enjoying its New York
premiere at its temporary location at the DR2 Theatre in Union Square in downtown
Manhattan, and the play revolves primarily around her relationship with Father
Reilly, the parish priest who is twice her age.
The play treads very familiar ground but does so effectively, largely
due to the remarkable talent and professionalism of its entire cast which, in
addition to Allan-Headley, Meleady and Lydic, includes Patricia Conolly as Emma
Malloy (Anne’s somewhat loopy great-aunt who has cared for her since Anne was
orphaned) and Arielle Hoffman as Ciara Murphy (Anne’s best friend who is as
lost as Anne is).
In
our last review (of a recent revival of Ionesco’s Rhinoceros) we commented on man’s frequently foolish tendency to
focus on the trivial and insignificant at the expense of the truly important. Ironically, something quite similar is at
issue in The Belle of Belfast. In Rhinoceros
we were introduced to characters who were more concerned over whether the
rhinoceroses they encountered were Asian or African or had one horn or two than
with the massive devastation they were causing.
In The Belle of Belfast, Emma
dwells on such trivia as where and by whom it might be appropriate for her to
be touched and by the sin she might have committed by viewing an incident of
shoplifting rather than any of the larger issues in life. Duncan is seemingly more concerned with the
number of Hail Marys to prescribe in the professional for the most minor of
religious infractions than with the death and destruction all about him (he
actually takes pleasure in the martyrdom of Anne’s parents since it entailed
the deaths of seven Protestants as well).
And Anne is persistently hung up on replacing all her “fucking”
profanity with milder “fecking” expletives, a distinction which actually seems
to matter to Father Reilly (who remains more concerned over maintaining his
relationship with the Church than with his relationship with Anne, even at her
time of greatest anguish).
It
is a sad but all too true commentary on the human condition.
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