Two Lockout Plays or Are They Musicals?

Mary enright reviews two plays about the Lockout currently being performed in Dublin and asksshould they not be dubbed what they really are – Musicals. And good ones at that 

Two plays based on the 1913 Lockout are being staged in Dublin at the moment. The Risen People, by James Plunkett, is taking place at The Abbey Theatre, and One Hundred Years Ago by RADE is at the OLV Building, Cathedral Court View, Dublin 8. The latter is a group creation directed by Mick Egan and is housed in the building where RADE holds regular workshops, classes and meetings.

(RADE stands for Rehabilitation through Art, Drama, and Education.)

Members of RADE were involved in the 1913 Tapestry, and subsequently researched the Lockout further. This production is the result of a multifaceted approach to the theme, from their classes in Art, Drama, Creative Writing, Film and Thai Chi. It was previously staged in Smock Alley, in September.

Two productions – David and Goliath, I hear you say. Wrong, first go. I saw both and I loved both equally. I am not going to outline what one has and the other has not. There are superb elements worth noting in both, and you should see both to confirm this for yourself. I will try and outline what I loved in each, but not so much as to “give the game away”.

The Abbey has a huge stage space. They used the height imaginatively for scene changes. RADE shares the floor space with the audience, has no curtains or backstage, but once you walk in and see Hats and Aprons lined up in order, you know these people mean business.

They both use slide shows of photos of the time and RADE uses a lot of journalistic headlines which moves the story on in your head.

One has film of cartoons, one has newly made “authentic” lampposts.

They both have two musicians on stage companioning the acting with ballads.

They both have stylised slow motion to depict crowds/chaos in the streets.

The lines of dialogue for the women are so similar, these woman are chiding their men for following Larkin, socialism and the Countess –

“… oh, she’s from Sligo, landed gentry I’m told, with famine blood on their hands”.

One has 13 actors, the other has 8 actors who swiftly change accents and become someone else. Brilliant.

The foot-stamping to song becomes dance, and the group dancing is very sharp and energetic.

But the highlight for both, respectively, was the Additional Music and Lyrics. The original script has 3 occasions where there is only “one scrap of a measly ould verse”. So all our brave new scriptwriters gave us plenty more verses. Genius. As Rashers might say “…twas problematical entirely last week, visiting two acting houses, to pick up two sets of new ballads. I sold loads of “Riding on the Tramway” outside The Imperial. Twas “Erin Go Bragh” for the Lords of Liberty Hall. Me self and Rusty is wore out”.

One has a haunting, chilling voice reminiscent of Ronnie Drew, one has the beautifully delivered lament of a father, for his departing children.

Because you are so near the audience at RADE you can feel each actor stand on their feet with pride, conviction and belief in what they are saying. I loved the lighting for the red light district too.

They are both billed as a play with songs. Why not call them what they are? Musicals

So,   “Come on along, come on along

And book your tickets now”

As the year comes to a close, do not forget to read Strumpet City, if not read yet, for the slow, lyrical unfolding of events.

“Fitz took his tea. It was thick and brown. Carrington made tea in the way of the workers, tea leaves and sugar all in together with a lacing of condensed milk. It had the taste of the job of it, of coal fumes, of sweat, of furnace house gossip.”

Telephone Bookings – ABBEY  01 87 8 7222  and RADE 01 677 0014