Do you feel like you know Dublin? Really know it? Do you walk the same route along the same streets every day? Is your morning routine so rigid that it almost feels like you are repeating it, on loop, day in day out? Get up at the same time, go to the bathroom, eat breakfast at the same table with the same people and then go out the same door, together.
Are you in a routine so much that it feels like you are less in a real world and more in a rehearsal? This award winning work (Best Production, Absolut Fringe 2010) by the Company takes this ideas of ‘a day in the life’ and also taking inspiration from James Joyce’s Ulysses tracks the journey of each of the four characters from waking in the morning to their journey through Dublin City to the Peacock theatre where they must stage their new work, whatever that may be.
The Company members Rob, Tanya, Nyree and Brian play heightened characterised versions of themselves. The Peacock stage has seldom looked so open as Dublin City and its buildings and ‘box towers’ are represented by sweetly choreographed large cardboard boxes. The opening sequence where the ‘set-up’ of the stage is played out before you like a manic session of lego building.
The audience are taken on a virtual walking tour of Dublin, where streets, sights, smells and places are all name-checked. The concept of associating certain foods and smells with certain places in the city is reminiscent of scenes from Joyce’s book. The idea of ‘rehearsal’ is examined throughout the work as pieces are replayed, altered and replayed again. The story of Paddy Dignam is one such case. If time can be slowed, stalled and replayed, the question of intervention crops up, where all of us are in a social media-led, isolated bubble which leaves less time for actual human contact as simple as a hug as we concentrate more on virtual ‘poking’. The irony is not lost that as crowds pulse through the city streets as we are hell bent on getting from A to B without knowing what is actually around us.
The work is extremely humorous, the in-jokes and deliberate over-reacting, I thought, gave a particular aspect which I believe can easily be lost in a work of this form and that is a connection with the audience and a commitment to entertain and engage. I imagine it to be the only work at the national theatre to refer to its Artistic Director Fiach McConghail as ‘The F-Bomb!”
The influence and direction by Jose Miguel Jimenez, who was seated in the audience, plays no small part in the production as he strives to keep the whole concept of time – the moment and our place in that moment – fluid and on track. With As You Are Now… Jimenez has justified the much hype about his ideas and abilities. He, along with the Company, really have set Irish theatre ablaze with a new, exciting and unique brand of work.
What grated me somewhat were not the themes of the play, or its perhaps piggybacking-use and reference to Ulysses but actually what I heard and read from numerous others who saw this work. Yes, the Company are brash, yes, they are riding a huge wave of success and have big ideas and are experimenting with new forms that are not everyone’s ‘thing’ or within their comfort zone of theatre with a straight narrative. The Company are good, and they know it. But is this really a bad thing? It still means they are good! And when they are good, they are very good.
As You Once Were Now So Once Were We runs on the Peacock stage at the Abbey until 5 February.
Meet the members of the Company in conversation with theatre critic Peter Crawley at the Abbey, post-show, Wednesday 2 February.