There have been many memorable productions at the Irish Rep over the years—of Beckett, Synge, Friel, O’Casey, McPherson, and more—but with Ciara Elizabeth Smyth’s Irishtown, it’s clear that the venerable nonprofit theater has a robust and self-deprecating sense of humor, able to laugh about the dominant tropes of Irish drama and the innumerable depictions of trauma and strife. Smyth’s play, developed under the theater’s New Play Development initiative and directed by Nicola Murphy Dubey, who leads that initiative, is a departure from its typical fare: a funny, satirical exploration of Irish theater, stories, and cultural identity.
“Grief is among other things a loss of rhythm,” remarks Patrick Bringley in All the Beauty in the World. This one-performer drama, now on the miniature stage of DR2, is based on Bringley’s 2023 memoir of the same title. Both play and memoir explore the emotional life of a man in his mid-20s, sensitive and erudite, seeking solace in art and isolation following his older brother’s death. When “you lose someone, it puts a hole in your life,” says Bringley (making his theatrical debut playing himself), “and for a time you huddle down in that hole.”
Written in 2000 and inspired by the Y2K scare, Eric Bogosian’s dark apocalyptic play Humpty Dumpty is finally receiving its New York premiere after debuting at the McCarter Theater Center in Princeton, N.J., in 2002. At that time, Bogosian’s script included dialogue that eerily foreshadowed the September 11 attacks. Now it serves as a cautionary tale about mankind’s dependence on technology.
In Two Minds is a new Irish play about the way a mother and daughter's intimate relationship is tested by mental illness. Playwright Joanne Ryan has constructed a story in which a mother’s behavior, resulting from bipolar disorder, tests her daughter’s resolve, love and support. Daughter (the characters are unnamed) knows she has little control to prevent her mother’s descent into depression, like watching a sinking ship. The play presents two portraits of the bipolar’s emotional toll compassionately but accurately. It is gritty and unflinching.
With Two Sisters Find a Box of Lesbian Erotica in the Woods, Emma Horwitz and Bailey Williams pay homage to their foremothers in downtown queer performance—collaborative troupes like Split Britches and Five Lesbian Brothers that produced freewheeling entertainments infused with sapphic sensibilities yet typically without any linear story.
With Two Sisters Find a Box of Lesbian Erotica in the Woods, Emma Horwitz and Bailey Williams pay homage to their foremothers in downtown queer performance—collaborative troupes like Split Britches and Five Lesbian Brothers that produced freewheeling entertainments infused with sapphic sensibilities yet typically without any linear story.
Bailey Williams’s Events at The Brick is a wild and woolly comedy that examines the stresses of current workplace culture. It deals with job-related themes—the high demands for productivity, the delusion that one is irreplaceable—in a style that is witty, original, and entertaining. Directed by Sarah Blush, and co-presented by The Hearth, Events doesn’t altogether succeed as a coherent narrative. Nonetheless, it uses the properties of the theater in a deeply poetic and intriguing way.
