The Remains of Maisie Duggan – review

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The Remains of Maisie Duggan, written by Carmel Winters, is a fresh play to hit the Peacock stage at the Abbey this October.

The play is set around the current time in West Cork, and attempts to dissect the various dysfunctionalities of Irish families. The story follows a family whose daughter has just returned to her childhood home for her mother’s funeral, only to discover that her mother is alive and well, yet remains convinced that she is dead and is now haunting the family. The father is a gruff and emotionally removed character. He is distressed by the situation, and expresses shame at the embarrassment which he considers his wife to have brought upon the family in their rural hometown. The elements of the performance combine to bring this  toxic environment to life, though not without a fair share of dark comedy.

The most striking aspect of the production is the lighting, literally and figuratively. At the beginning of the show, the audience is subjected to five seconds of excruciatingly bright lights which frame the circumference of the stage. During this, daughter Kathleen, played by Rachel O’Byrne, disappears into the background. This moment is partnered with an ominous soundtrack, which creates a very eerie introduction whilst also setting the audience up for the effective use of lighting and sound throughout.

The performances were relatively strong. The father or ‘Himself’, played by John Olohan, was the weakest of the four characters. His entire time on stage was spent shouting at the other characters, which I felt lacked variety, although it did suit his character’s personality. Maisie, played by Bríd Ní Neachtain, soaked up the role and carried the play. Her interpretation and portrayal of a mentally distressed and somewhat disillusioned character was skilful. Cillian Ó Gairbhí, who played brother Tadhg, was a true delight to watch perform. His character, the main source of comic relief, was a pillar to the production and he certainly did it justice.

The set was very impressive, comprising of a typical farmhouse kitchen complete with splatters of mud from the floor to the ceiling, which supported the development of the plot. The humming fluorescent lights, rusting iron stove and tattered rocking chair all contributed aptly to the aesthetic of the performance and allowed for one to be easily transported to the fractious environment of the household.

However some aspects of the performance lacked continuity, in particular, the props and costumes. The younger brother, Tadhg used his iPhone several times in the performance, which seemed unlikely, as I felt he would have more been more suited to a Blockia. The costumes also lacked imagination. And while the direction was rather solid, the fight scenes towards the end of the play were stagnated and awkward.

Winters writes with zest and bravery, diving straight into dark themes. This darkness is punctuated by colloquial humour. All in all, the show was a visual and audio spectacle brought to life by energetic performances and a sharply written script.

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