MARIA DUARTE, FIONA O’CONNOR and ANDY HEDGECOCK review Savage House, Enzo, Madfabulous, and Erupcja
OLEANNA has a simple scenario. John holds down a comfortable academic post in a higher education establishment and is engaged in what appears to be a routine tutoring session with Carol, a seemingly innocuous female student.
He acts like he’s done this a million times and is sitting pretty — a recent promotion enabling him to buy a new upmarket house, adding to life’s sweetness.
But Carol is about to upset the apple cart. While she presents initially as a naive, struggling wannabe, a certain defiance in her tone and posture suggests a different agenda. Carol’s weapon is her identity. A female, self-proclaimed socio-economic underling, a beginner in a world of experts and with an unclear sexual proclivity, her life experience is a million miles from John’s.
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
Although this production was in rehearsal before the playwright’s death, it allows us to pay homage to his life, suggests MARY CONWAY
ANGUS REID is bowled over by a cinematic masterpiece that examines the labour of nursing in forensic, dramatic detail
MARY CONWAY revels in the Irish American language and dense melancholy of O’Neill’s last and little-known play


