Dublin Theatre Festival reviews: The Realistic Joneses, and Animals
The Realistic Joneses: Joe Spano, Faline England, Sorcha Fox and Conor Lovett. Picture:: Sasko Lazarov / Photocall Ireland
- ★★★★★
Will Eno’s The Realistic Joneses is set in smalltown America and chronicles the sometimes awkward - and more often absurd - interactions between Bob and Jennifer and their new neighbours John and Pony. Bob suffers from a degenerative illness, and Jennifer seems resigned to her fate as his carer.
As the drama unfolds, it transpires that the couples have more in common than they might first have imagined, though John has a certain edge to his character that Bob does not.
Jennifer and Pony are both tested by the other’s partner, but not in pursuit of some dramatic dénouement. Indeed, the most startling moment comes when Jennifer finds a dead squirrel under her neighbour’s table. It is quickly binned, and as quickly forgotten.
Much of the action plays out in Bob and Jennifer’s back garden. Some lovely images are conjured up by the dialogue: the constellations in the sky at night; the passing of hot air balloons; the new neighbours’ fireworks.
The Realistic Joneses is not the most electrifying of dramas, but Judy Hegarty Lovett’s direction is as assured as one might come to expect of the Gare St Lazare stalwart, while Conor Lovett excels as John.
- Animals
- Samuel Beckett Theatre
- ★★★☆☆
George Orwell’s Animal Farm is, arguably, a peculiar choice of book for Louise White to adapt for the stage. Whatever its relevance to contemporary politics, there can have been few, if any, in the audience who were unfamiliar with the plot, which meant there were few surprises.
That said, it’s a lively production, with music and dance and a well thought-out set that ultimately allows Napoleon and his lieutenants to lord it over the other animals. Dmitry Vinokurov, as Napoleon, is the most charismatic figure on stage, but the six actors – or eight, if one includes the musicians – play multiple characters with aplomb.
There are knowing references by Gabriel Adewusi, playing the workhorse Boxer, to his status as the only black actor in the production, and he makes some mischief with the idea of playing a death scene, but it doesn’t really add much to the drama.
One is left with the impression that this production of Orwell’s political fable could have made more incendiary use of the material.
