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The New Theatre, located through an archway at the back of socialist bookshop Connolly Books, harks back to speakeasys 1920s New York. But instead of flapper girls and glasses of whisky, the audience is greeted by a millennial-style set with minimalist cool-toned wooden shelves, kegs, and a pair of fidgeting feet resting over the shelves. The sold-out audience is noticeably lively before the play begins; we are ready to be brought on a voyage. 

 

The premise of B(l)oom is interesting; we follow two young women who meet at a wedding in Powerscourt. One a server (Laoise Murray) and one a guest (Heather O’Sullivan), they sneak away from the evening’s entertainment to drive to Dublin. En route they witness horrific dystopian moments including an all-encompassing fire and fatal car crashes. The audience remains unknowing in whether these transgressive moments are the results of dreams, or drugs, or if they are really happening in this uncanny version of contemporary Dublin. They think about this city’s decline in liveability, until eventually all that remains of the city is a burnt shell. Colloquialisms add to the play’s grounding, partly set in a Wicklow GAA Club, the girls drive up the Stillorgan Road past Coláiste Íosagáin, RTÉ Studios, and the Dublin Bus Depot.

 

The strength of Murray and O’Sullivan’s performance lies in their interdependence. Murray is imperious, and her domineering takeover of the drive offers an underlying sinisterism which contrasts well with O’Sullivan’s bright Manic-Pixie-Dream-Girl persona. Both actors are energetic, at moments childlike, and opportune in their comedic moments. 

 

Although the play’s abstractions are sometimes difficult to follow, and the script sometimes shifts from being poetic to clunky, B(l)oom raises some timely questions: How can Dublin be fixed? What should the young try to do? How do you differentiate the moments, the days? How do you live a good life? 

 

This is not a perfect piece of theatre; nor does it set out to be. With clever use of the absurd, provocative visuals and soundscape, and a cast clearly comfortable cast with intimacy, the story is visceral enough to transfix its audience for sixty minutes.

 

tasteinyourmouth is a new collective founded by TCD alumni William Dunleavy, Grace Morgan and Laoise Murray.