Grotesque and misanthropic, Taylor Mac's Hir is identifiable as Theatre of Cruelty complete with repetitive projectile vomiting, piercing sound, public pissing, and bright stage lighting.
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After The Dance concerns itself with the generation that missed the First World War by a whisker and were celebrating and commiserating the hard won peace with copious amounts of whisky – predominantly Irish in this production – gin, brandy, and wine (when one can be bothered to fetch it from the cellar).
As humanity continues its blind progression, monsters will be spawned from our own wombs, intones the smirking sideshow tout in black.
This show by The Daughters Collective touts itself as ‘honest’ feminist comedy delving into the ‘beauties, horrors and complexities of mother-daughter relationships.’ Maybe so, but unless I’ve missed something, great chunks of it come across as mother-blaming and lacking in context.
This is not a perfect production, but it is on the whole quite a strong one, and a rare chance to see a professional local staging of this excellent play.
Family, time, love, cultural identity, the migrant experience, magic and aging – themes which manifest as disappointment and frustration, resentment, compromise and broken promises.
Kindertransport sounds like a toy, a benevolent children's vehicle on which to play.
At the end of each day my brain is full to burst: so many stories in my head, so much new information to absorb and embrace. Can life get any sweeter?
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