Reunion

Venetia Bowe, Cathy Belton, Simone Collins and Robert Sheehan in Reunion by Mark O'Rowe. Image by Kris Askey

*****

Reunion’s devils lie in its details. Writer and director Mark O’Rowe foreshadowing a dramatic storm within its comic clouds. Aoife Kavanagh’s squawking gulls and ominous score unsettling against Francis O’Connor's earthy brown kitchen offset by gun grey gloom. In which a mother and daughter, positioned opposite sides of the stage, speak across the separating distance with their backs to each other. Both revisiting their holiday getaway on a wind lashed island off the Galway coast in remembrance of times past. Family and extended family gathering for a meal that might well become a last supper. O’Rowe’s family reunion serving up a dramatic battle of the sexes as much as a comic battle of the ex’s. Gender cliches writ large as pub bound men look sad and pathetic whilst a cackle of women gossip in the kitchen. All gathering for dinner where personal vanities, petty foibles and needs seeking fulfilment see people’s defences killing them throughout the night, or wounding those around them. Their worlds transformed the following morning. O’Rowe’s script a masterclass in deceptive simplicity. Full of recognisable characters given vivid presence by a brilliant ensemble.    

Cathy Belton in Reunion by Mark O'Rowe. Image by Marcin Lewandowski

Like the maternal Elaine. Cathy Belton marvellous as a widowed mother clucking after her family and their partners. Her son Maurice, a pitch perfect Robert Sheehan, and girlfriend Holly, a superb Simone Collins, harbouring a secret or two. Accompanied by Holly’s doddering Dad, Felix, played with excellent comic timing by Stephen Brennan. The beer swigging Felix a gormless romantic who, should his boat come in, would likely be at the airport. Unlike Valene Kane’s superbly manipulative Marilyn, whose trained to heel Ciaran, an engaging Leonard Buckley, seems unable to act without Marilyn’s consent. Tensions rising between the blame dissing Marilyn and her married sister Janice, an understated Venetia Bowe, who, along with her phone hugging husband Stuart, a convincing Desmond Eastwood, makes a surprise visit. Accompanied by Elaine’s vivaciously animated sister Gina. Catherine Walker breathtaking and brilliant as a woman nursing her wounds after a recent break up. Throw in a frantic poet screaming forget me not in the shape of Ian-Lloyd Anderson’s Aonghus and home truths soon become painfully, hilariously, and poignantly real. Culinary compliments giving way to caustic comments and cruel comebacks. The final image taking us full circle as we arrive at the same compositional space but with different people begging new, or the same old questions. O’Rowe refusing to wrap it all up in a satisfyingly neat bow. Reunion's pained anguish and bitter laughter all the more satisfying as a result.

Desmond Eastwood and Catherine Walker in Reunion by Mark O'Rowe. Image by Marcin Lewandowski

With its family dysfunction, its insinuations and incriminations, its unresolved ending, comparisons to Chekhov are inevitable. Yet that’s as much a compliment to Chekhov as it is to O’Rowe whose observational brilliance and economic dexterity elevates language to a whole other level. Yet where O’Rowe’s writing is frequently discussed in terms of poetry, Reunion shows all the hallmarks of music. Clear, simple, conversational notes ringing clean and true even as language is patterned with symphonic complexity. Contrapuntal sentences, recurrent phrases and layered dialogue speaking to the composer rather than the poet. O’Rowe conducting it all to perfection via a divine ensemble. The end result laced with the retro charm of a 1940s drama. The isolation device of And Then There Were None providing context for a subverted Mrs Miniver amid touches of Ealing comedy exaggeration. Peppered with the pathos of The Big Chill. The one time enfant terrible now looking older and decidedly conservative unlikely to please everyone.

Robert Sheehan in Reunion by Mark O'Rowe. Image by Marcin Lewandowski

While it feels like putting the boot in given all that’s happening, or not happening at The Abbey, it’s a glaring question that's already being asked. With many notable artists decrying the problem of supports for new Irish writing and the role of the National Theatre in that regard. Showing no disrespect to Landmark Productions and Galway International Arts Festival, who endlessly promote the best in new Irish writing, why didn’t Reunion premiere at the National Theatre? Or Billy Roche’s by all accounts excellent, On Such As We? Or Ultan Pringle’s Boyfriends, a perfect show for the Peacock by a young, up and coming writer? A venue that, all too often, houses works like Ciara Elizabeth Smyth's Lie Low and Tom Moran's Tom Moran Is A Big Fat Filthy Disgusting Liar after they’d already achieved success? The optics, like those currently informing the suspiciously delayed Governance report, alongside going dark, are not great. More so given the gender biased Gregory Project has proven a lacklustre affair. All food for thought sure to be discussed over drinks and nibbles during GIAF 2024. Where you should most certainly catch Reunion. In which great direction, great writing, great performances equals great fun. O’Rowe’s most enjoyable play of recent years a comedic and dramatic delight.

Reunion, written and directed by Mark O’Rowe, presented by Landmark Productions and Galway International Arts Festival runs at The Black Box Theatre as part of Galway International Arts Festival 2024 till July 27.

For more information visit Galway International Arts Festival 2024