Irish literary icon Edna O’Brien’s new play known as Joyce’s Ladies. However neither Molly Bloom nor Anna Livia Plurabelle make an look. As a substitute, Joyce’s mom Could, spouse Nora, patron Harriet Shaw Weaver and mistress Martha Fleischmann all characteristic. But they’re left within the shade by his daughter Lucia, who spent most of her life in psychiatric hospitals after being identified with schizophrenia in her mid-twenties.
In Genevieve Hulme Beaman’s versatile and engrossing portrayal, Lucia comes throughout as essentially the most forceful persona inside the Joyce household. Styling herself “the Isolde of Chapelizod” (in a nod to Finnegans Wake), she isn’t merely her father’s muse but in addition the first inspiration for the dreamlike idiosyncratic language of his late writing. And her excursions into exactly executed geometric choreography level to immense unfulfilled promise as a dancer. After the autumn of France to the Nazis in 1940, O’Brien’s Lucia even manages to evade the Gestapo and be part of her mother and father in Zurich (whereas, in actuality, regardless of her father’s frantic efforts, she languished in an asylum exterior Paris all through the second world battle).
Such innovations counsel a need to redeem the distress of Lucia’s life by drama — the one prose style her father by no means really mastered. Although we see her stab Nora with scissors, her behaviour largely looks as if a case of unjustly curbed exuberance moderately than certifiable madness. The writer of The Nation Ladies invests her model of Lucia with loads of hypothesis and fantasy. It’s nonetheless straightforward to sympathise with O’Brien’s want to endow her with the type of visceral freedom skilled by Joyce’s heroines (versus the true ladies in his life).
Joyce’s harried mom Could (Deirdre Donnelly) units the tone early on when she beseeches him: “Have you ever no phrase to throw at me?” Nora (Bríd Ní Neachtain) equally complains that her husband has by no means advised her he loves her. As performed by Stephen Hogan, Joyce himself is stiff, befuddled and missing in presence. He shows little hint of the single-minded dedication that drove him to inventive greatness. That interpretation coheres with the play’s central premise that the author derived his artistic vitality from the uncared for ladies round him. However the impact feels unbalanced and reduces his character to a cipher.
Conall Morrison’s 100-minute staging is equally uneven. The scenes that includes Lucia brim with unusual, effervescent vitality that channels the modernist spirit of Joyce’s writing. Invoice Murphy’s Zozimus, who sings ballads within the model of a Greek refrain, provides a observe of tuneful thriller. And a late scene during which Joyce’s letters are scattered into the air playfully evokes the numerous controversies involving the author’s correspondence. However a lot of the motion unfolds in humdrum naturalist model and options too many overly declamatory monologues that appear higher suited to the web page than the stage. The play additionally features a prolonged movie sequence depicting Lucia’s confinement that’s awkwardly indifferent from the underlying medium.
Joyce himself skilfully blended music, journalism and cinema into his writing. Joyce’s Ladies doesn’t totally succeed on that entrance. Hulme Beaman’s charismatic central efficiency nonetheless constitutes a formidable theatrical achievement.
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