Safe Harbour review: Ballyturk meets Black Mirror as Volcano erupts into a feast for the senses
Luke Murphy and Will Thompson in Volcano. Picture: Emilija Jefemova
★★★★★
This dance/theatre production at Sounds From A Safe Harbour from Cork choreographer Luke Murphy is a scintillating assault on the senses, an invigorating blast of fresh air, perhaps an ironic way to describe a performance that unfolds in a sweaty perspex box in a darkened theatre on one of the hottest days of the year.
In the crude cultural shorthand of today, it’s Ballyturk meets Black Mirror, two men thrown together in a social experiment in space. But there is nothing futuristic about their surroundings, a dingy sitting room, with old televisions and radio sets, the audience as voyeur, gripped as the mystery of why the men are there unfolds.
As well as writing, directing and choreographing, Murphy features alongside Will Thompson, as one of the inhabitants of ‘Pod 261’. But there is obviously a glitch in this particular matrix, as the men are seemingly destined to re-enact demented snapshots from past lives and memories through myriad cultural reference points, from quiz shows to stand-up routines. Their co-dependent relationship is wonderfully portrayed, from initial awkwardness to intimacy, all underpinned by a bleak humour.
Then there is the astounding range and beauty of the dance — including ballet, swing, rave, and some achingly poignant slow dancing. At points, it seems like they are defying gravity, mimicking the weightlessness of space. The sheer energy and physicality of Murphy and Thompson throughout the three hours is awe-inspiring, as they seamlessly and gracefully move furniture and props, execute numerous costume changes and at one point rearrange an entire set. Murphy is a phenomenal talent, with a rangy, spare physique and hugely charismatic presence — not unlike his fellow Corkonian and namesake Cillian.
Presented as four episodes, each 45 minutes long, the show asks a lot of an audience, but the pacing and structure holds the attention throughout. The meticulous attention to detail is evident across all aspects of this production — set, costume, sound and lighting design cohere to mesmerising effect. Special mention must go to Chaz Moloney, whose music mix, encompassing everything from Handel to the Beach Boys, adds enormously to the overall vibe. It all culminates in an extraordinary montage of historic and pop culture moments and a devastating realisation for the two men, who still hold onto hope in the face of impending oblivion.
Kudos once again to the Sounds from a Safe Harbour festival, and Dance Cork Firkin Crane, for bringing this astounding show home to Murphy’s native city. Initially conceived and staged during the pandemic, it played to necessarily small audiences, but it deserves to be seen far and wide.
