Review: Not Now, Finborough Theatre

Review: Not Now, Finborough Theatre

As the viewers settles into the intimate 50-seater, black field studio house on the Finborough, Matthew, performed by Matthew Blarney, is ready for us. Sitting at a kitchen desk, often nibbling at a little bit of toast, he’s absorbed in rehearsing one thing. It’s not unprecedented for actors to be on stage earlier than the start of a chunk however Blarney is in situ for a good period of time. I actually preferred this: after a couple of minutes the viewers simply obtained used to it and carried on round him. He turns into acquainted and we’re included within the motion. Then the lights dim and an Elvis Presley tune erupts, a contemporary vitality is launched and the play correct commences. 

It’s the day after Matthew’s father’s funeral in Belfast and he’s rehearsing for his huge audition at RADA. He must catch a airplane to London in a few hours and is understandably nervous in addition to conflicted about leaving his mom so quickly after his father’s loss of life. Having determined to make use of Richard III’s opening monologue, he has adopted odd mannerisms in an try and mimic a hunchback. Abandoning his pure Northern Irish accent, he adopts an English voice and it’s not nice. In walks his uncle Ray (Stephen Kennedy), a painter and decorator by commerce. He’s eager to supply assist and recommendation with little understanding or expertise of Shakespeare, or appearing normally. It doesn’t go properly. 

What follows is a cleverly structured and properly written story. It explores household relationships, secrets and techniques, truths and hidden needs. Pain and uncertainty is delivered alongside correct snicker out loud humour. Identity is vital: author David Ireland has beforehand stated that he’s solely writing for a Belfast viewers. Nonetheless this exploration of self – the guilt of leaving dwelling, with the precariousness of being by yourself in a brand new metropolis, and the imperfect normality of household with generations reacting towards one another – resonates with everybody. The writing is superb because it flows mellifluously between states of thoughts. It’s true, after all, that on this instance being Northern Irish is important. Matthew, a younger man in actual time, is resolutely British. Ray alternatively, older, and having lived via the Troubles, has a distinct view. It doesn’t matter as a result of what’s created is a touching, acquainted and really humorous portrayal of rising up and looking for an identification that matches.

The intimacy of this pretty venue signifies that the actors are in touching distance. Kennedy’s prowess is exemplary. His eyes mist over in probably the most touching of moments and it’s onerous as an viewers member to not comply with go well with.

The set is properly designed and is centred round a breakfast-strewn kitchen desk. Simultaneously complementing the household dynamic and drawing the viewers in, it additionally humorously highlights the generational variations as Ray teases Matthew for his ‘gourmet’ espresso in a cafetière.

At the tip a truce is made, borne of revelations and secrets and techniques shared. And it’s credible. Matthew has one ultimate go at his audition piece, however this time in his pure vernacular and it really works and is highly effective. No one is suggesting that that is the tip of all establish battle, however it’s nonetheless an vital step in acceptance.

And then, simply when the revelations may get too emotional, Elvis Presley closes the piece with a bang. Joyous, highly effective and emotional. And I’m not even an Elvis fan.

Written by: David Ireland
Directed by: Max Elton
Produced by: Sarah Roy
Presented by nineteenth Street Productions in affiliation with Neil McPherson for the Finborough Theatre.

Not Now performs at Finborough Theatre till 26 November. Further data and bookings may be discovered right here.