The Dublin Theatre Festival is now officially over, although several
productions which opened under its banner continue in performance. One
such is
Freefall by the
city’s Corn Exchange theatre company. In superficial form Michael
West’s play is fairly conventional: as its protagonist hovers between
life and death, his memories, fantasies and preoccupations play out in
flashback. Annie Ryan’s staging is fluid and imaginative, using
semi-opaque hospital-style curtains as “wipes” between scenes and live
foley work as actors visible at the side of the stage provide sound
effects for mimed events onstage. However, there is a deeper chord
being struck: this is to some extent a state-of-the-nation play. It is
not simply a matter of alluding to the Celtic Tiger’s collapse by
talking about business receiverships, job losses and money being
generally tight: the undercurrents of anxiety about a disintegrating
marriage, about the son who never appears onstage and the sister
missing for most of a lifetime, are also analogues of the national
uncertainty in Ireland at the moment.
The festival also saw the latest of Berlin-based Rimini Protokoll’s
“expert theatre” pieces, in which non-theatre people portray their own
lives and activities.
Radio Muezzin
succeeds both in countering the increasing western response to Arabic
and/or Muslim people, and in portraying the depth and resonance of the
culture. Four muezzins from the Cairo area share with us their
biographies, their relationships with their mosques and with their (no
pun intended) calling. Although the call to prayer (or
azan) from most mosques is now
amplified by microphones and speakers, the call is still sung live by a
muezzin in the mosque itself. However, the Egyptian government will
shortly implement a trial programme whereby some 4000 mosques will
broadcast the
azan from a
centrally maintained pool of only 30 muezzins. Actually, in this
production, one of the performers – appropriately, the one recruited to
this central body – is already virtual: he left the production some
months ago following tensions with his fellows, and is represented now
by archive video as his words are read by someone else. There is a
cheeky delight in seeing the vanity of his recollections of his
bodybuilding exploits and appearances at the world Qur’an recitation
championships intercut with simple and essentially far more dignified
memories from the working life of a retired electrician who came to be
a muezzin only in his latter years.
Written for the Financial
Times.