Dublin Fringe Festival 2024: The Maestro and The Mosquita

The Maestro and The Mosquita. Image Ros Kavanagh.

****

Lights, music, sound, action. Core elements of any Louis Lovett performance, crafted and curated through an alchemy of magic and hard work. Like Bryan Burroughs, Raymond Keane and Mikel Murfi, Lovett is one of Irelands great physical performers. His signature style marrying clowning and tones of Commedia to facilitate unforgettable theatrical experiences. If you thought he couldn’t possibly get any better, think again. The Maestro and The Mosquita by Carmel Winters sees Lovett breaking through to even higher ground. Leaving mere mortals to look on in wonder as his irresistible spell seduces and enchants. Even if it slightly overstays it's welcome.

In fairness, his collaborator’s must take some of the credit, and a little of the blame. Winters tale of a man, a mosquito, and the testing of their relationship is built around an impressive economy of text. Language riddled with hints and suggestions, saying very much more by saying so much less. Allowing Lovett’s Germanic tones, expressions and physical mannerisms convey humour, heart and deeper truths. Yet beginning with direct address to the audience, then shifting to a story that checks in with them now and again sees proceedings stumble at the gate. Not helped by the story being initially confusing and longer than it needed to be. Leaving Lovett’s expertise as the only thing to connect with for a time. No great suffering there, but good stuff slips through the cracks as you try to work it out. Directors Muireann Ahern and Stephen Warbeck managing visuals beautifully, but narrative not so successfully at times. Still, things eventually settle and in no time Lovett has you eating out of the palm of his hand as the maestro and his mosquito set about defining the nature of their special relationship.

If Lovett is master of his craft, Sarah Jane Shiels is similarly so. Shiels possessing the ability to eclipse herself and allow the personality of the show or artist shine through. The only hint of her presence hiding in the sheer excellence of the work. Here clothes, shadows, footlights and mosquito flights are infused with Lovett’s boyish charm. Echoed in Warbeck’s stunning score and Carl Kennedy’s perfectly executed sound design. By the time the final lullaby arrives you are helplessly, eternally transported.

Feeling like an improv exercise that goes on a tad too long, or a fairytale trying to be novel, The Maestro and The Mosquita is at its best when less is doing so much more. Even so, Lovett’s performance is a source of such joy you never want him to leave the stage.

The Maestro and The Mosquita by Carmel Winters, presented by Theatre Lovett, runs at The Project Arts Centre until Sept 15 as part of Dublin Fringe Festival 2024

For more information visit Project Arts Centre or Dublin Fringe Festival 2024