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Rough Magic’s new production of Joyce’s seminal novel teeters on triumph. After the success of Joyce adaptations on stage in recent years – including the Abbey’s productions of The Dead and Ulysses – it is no surprise that the next commission was Portrait of the Artist as a Young Man. Rough Magic is one of Ireland’s most respected and recognised theatre companies; one which has constantly reimagined itself since its inception over thirty years ago. Its major achievements lie in its focus on Irish theatre, of performing Irish identity which questions its very essence. This, mixed with the anticipation of a spectacular Arthur Riordan script, meant the Dublin Theatre Festival Opening Night buzz was rife.

To turn such a well-thumbed novel into a condensed dramatic performance is no small task. Riordan’s script maintains the essence of Joyce’s multiplicity. A narrator remains on stage, giving context to often abstract happenings on stage. As our antihero Stephen Dedalus ages, the actor playing narrator takes on Stephen’s role, and a new narrator cyclically replaces Stephen for the next era. This plays on the production’s engaging treatment of gender; building on the recent turn to blind casting in Dublin theatre, the ensemble swapped characters and roles with no concern as to the actor’s sex (Dedalus was played by two men and three women, for example).

The aesthetic of the production was mesmerising. Maintaining a very Dublin-centric vibe, it transports the play to an almost 1990s dream. Stephen, regardless of the actor, wears an Italia 90 Ireland jersey, while matching double denim and patent leather shoes are the style of choice for the ensemble. A bright use of music and modern song adds a pantomime atmosphere. The open wings offered an inclusiveness to the audience.

Catholicism is a theme much drawn upon. Deemed a “Priest-ridden race”, Dedalus’ coming-of-age seems to be made tangible through his relationship with the church. Sin, confession, prostitution and the vocation of priesthood, are all touched upon with intrigue, passion and humour. A gigantic, faceless Virgin Mary statue overlooks the entire show, a reminder of Catholic guilt, of how Joyce’s novel was considered impure.

Despite its great achievements in adaptation, this is not a perfect performance. The play’s near- three hour run-time undoubtedly contributes to a dragged second half, with Martha Breen’s Dedalus suffering from audience fatigue. The cyclical nature of actor swapping invites the format to become repetitive, initiating a countdown in the audience’s head as to how many more sections left. Some members of the ensemble (including Kieran Roche and Aoibhéann McCann) had noticeably more energy, and more vigour, than others.

In conclusion, Rough Magic’s The Portrait of the Artist as a Young Man is a whirlwind of fun theatre. Though perhaps not stylistically or performance-wise as impressive as other recent Joyce adaptations, it is still definitely worth seeing.

Portrait of the Artist as a Young Man runs at the Pavilion Theatre until 7 October as part of Dublin Theatre Festival.