Are Ya Dancin'?

Are Ya Dancin'? Image by Billy Cahill

****

Women had it tough in 1960s Killybegs. Institutionalised misogyny, sent to England to hide shameful secrets, the indignity of being refused service in a pub. Compounded by marriageable men like Norman O’Gorman. A Mammy’s boy aspiring to be Elvis with a voice that could mangle metal. Or blow-in Tommy O’Neill. A gormless mope with the personality of a panic attack but a voice that could front a showband. Leaving the two most beautiful women in Donegal hankering after him. Good girl Sarah, too cute to be true, and modern minded barmaid, Mary, finding their friendship tested by the new arrival. By secrets. By Tommy’s rise to national fame with local showband The Stormers. All unaware that a new dawn looms on the horizon in which their world will recede as into the mists of time. In Are Ya Dancin’? a labour of much love by Carol Gleeson and Helen Spring, the vicissitudes of 1960s Ireland underscore the exhilaration, escapism and enduring love of the showband era. Delivering a delightfully entertaining, visually stunning and infectiously fun night.

Helen Spring and Carol Gleeson in Are Ya Dancin'? Image by Billy Cahill

It’s been a long road for Gleeson and Spring. Beginning in 2018 with The Voice Within. An impressive production that must now be considered Are Ya Dancin’s? first draft. The inspirational duo wanting to better tell their story of two women and a shy man and the people and music of the showband era. Nostalgia and history here made to play well together. Sentimentality, still there, but now honed by touches of an Edna O’Brien styled fearlessness concerning of the plight of women. Infusing infectious songs and dance routines with a bittersweet edge, especially during the final, roof lifting medley. Songs where life, love, hopes and dreams resided. If only for a Saturday night. Yet when it comes to the annoyingly gifted Gleeson and Spring, story is only the half of it, and arguably not the most impressive half. Jealousy wanting to really hate them when you discover they are also the show’s producers. And doing an exceptional job, naturally. Ronán Duffy’s set, part bar, dancehall, and star bright heavens, beautifully mixing realism with escapism. Delicate touches, like Sweet Afton cigarette adverts, employing meticulous detail to enhance an otherworldly era. Conor Sweeney and Aidan Cooney’s lights, along with Conor Wilkins and Ríona McElwain’s sound design evoking the texture and atmosphere of the time. Yet it’s Andrew Reddy’s meticulous costumes and Margaret O’Connor’s superb hair that best recapture the period with its panache and style. Echoed in Deirdre Browne’s superb choreography, evoking the school hall dance routine of Grease.

Are Ya Dancin'? Image by Billy Cahill

If Pat McElwain’s direction facilitates some curious choices, including endless waves of unnecessary dry ice, as a rule McElwain marshals his forces brilliantly. Not an inch of stage is left idle as composition, flow, and complex transitions are all masterfully handled. McElwain negotiating the uneasy demands between the scripts realism and its comic book stylings. If, mostly, he successfully negotiates the distinction between stereotype and archetype, a tendency to over egg the omelette in places, and undercook it in others, sees key moments and characters jarring occasionally. Helen Begley’s superb Bridget Mullins and Dan Ryan’s scene stealing Norman work well for being genuinely cartoonish, but a mostly impressive Hugh Gallagher as the band’s impresario Seán overworks the attitude till it feels like overacting or a caricature. Similarly Seán MacMathúna as Tommy O’Neill, Donegal’s answer to Dickie Rock. A one dimensional mope, MacMathúna shines brighter when honestly embracing his secret heartache. Electrifying during the final medley when the quiff sporting, hip swivelling singer reveals why sales of women’s knickers have doubled in Donegal.

Seán MacMathúna and Paul Mescal in Are Ya Dancin'? Image by Billy Cahill

Meanwhile Kevin Reade as guitarist Jim Brennan beautifully handles what is arguably the plays most complex character with a wonderfully understated performance. A superb Paul Mescal (no, not that one, his Dad) pure dynamite as the embittered bar owner Seamie. A grudge with a chip on his shoulder, Mescal’s Seamie grounds proceedings in granite stubbornness that defines the need for escape. Even Pat Breslin’s soft spoken Father Gallagher, and Rory Dignam’s local boy, Johnny, cower when Seamie passes. Yet it’s the women who steal the show. Along with a divine Begley as an uptight, upright paragon of virtue, Laura Gleeson as youngest sister, Tess, (rotating with Lynn Carter) brims with ingenue innocence and the voice of an angel. It almost makes you cringe to say Spring and Gleeson are both terrific, because clearly there is nothing these two women cannot do. But even they cede the spotlight to the vastly underused Bronwyn Andrews, adorably brilliant as Annie. A woman and wife with a love of life and voice to match delivering a performance of pure joy.

Are Ya Dancin'? Image by Billy Cahill

If the final scene doesn’t quite pull off escapism married with realism, it’s still a brave and bold choice that sees Are Ya Dancin’? refuse an easy, saccharine happy ever after. Even so, there’s still a musical big finish sure to have any audience singing, clapping and on its feet. Are Ya Dancin’? is not high art, rather it’s unapologetic entertainment that can border on pantomime at times. It’s not serious theatre, but often leaves serious theatre looking like the poor relation imaginatively and theatrically. It’s not even a musical, but rather a musical play where key songs like Sketter Davis' The End of the World are gorgeously realised. If you were there, there’s much to love here. If you weren’t, you might well find yourself wishing you had been. To go back for just one night. In which case, go see the eminently enjoyable Are Ya Dancin’? A joy from beginning to end.

Are Ya Dancin’? written by Carol Gleeson and Helen Spring, presented by A Likely Story in association with 3Olympia Theatre, runs at 3Olympia Theatre until August 31.

For more information visit 3Olympia Theatre