By the Bog of
Cats at the Abbey Theatre, Dublin
On Wednesday
19th of August last I attended an edgy, gripping
performance of “By the Bog of Cats” at The Abbey
Theatre in Dublin. The production was written by Marina Carr. Directed by Selina
Cartmell, Set Designed and
Costume Design by Monica
Frawley, Lighting Design
by Sinead Wallace,
Hair and Make-up Design by Val Sherlock.
This edgy, humorous, unfolding tragic and unsettling drama is set in a symbolic, bleak, isolated, scoop of dry bog-land; a spacious, mysterious place of old secrets, some dark, one, very dark. Anticipation stirs as a character approaches a door on the back of an old caravan sunken,
half submerged in a bog-hole. The stage darkens and the character’s exploring view of the caravan interior is projected
onto a large background cyclorama, the view finally settling on the image of a
child who is now in person the sole occupant of the stage.
Scenographer Monica Frawley presents the performance space as a
low two level isolated almost featureless pock marked dry hollow in what can be
imagined as a larger bleaker, sparsely populated landscape. The irregular
textured oval shaped floor level area is backed on three sides (upstage, stage left
and right) by a higher level which curves down stage on stage left and right;
with on/off egress up stage left and right. The two levels access each other
via a connecting curved ramp from upstage centre to half way down stage left.
There is down stage on/off wings egress from the down stage half of the oval
shaped floor level which protrudes over the stage apron into the front of the
auditorium.
The
irregular textured surfaces disguise some foot and hand holds on the stage
right sloping wall between the two levels. It also accommodates an old caravan sunken, half submerged in a bog-hole which in turn does
sink into the bog. The same bog hole area doubles for the burial of the dead
Black Swan. Another part of the floor accommodates a more sinister bog hole.
(See the show).
The
synchronised choreographed appearances of characters with the subtly lit
performance areas within the space and the smooth queuing of the performers
bring the audience effortlessly from setting to setting and from time to time.
The
centre stage left performance space is anchored by a small broken ridge of
raised rock which is visually pleasing in the near emptiness of the space and
low broken small ridge is used to good effect by the characters.
The
later wedding scene is augmented by sufficient well-chosen props and dressings
to set the occasion and to give the characters what they require to enact the
scene.
The set presentation is visually pleasing, appropriate to the script and
in conjunction with the lighting design, costume design, hair and makeup
conjures an enhancing visual ambience populated by the mesmerising characters of
the writer’s imagination. The scenic elements are robust; appear economically
effective and are supportive of the whole performance. The limited use of the
backing projection screen for projected images gives a subdued starkness to the
space. This assists in confining the observer’s attention on the performers, an
effect which is supported by Lighting Designer, Sinead Wallace’s lighting.
Monica
also designed the costumes which were effective in giving most of the characters a credible
appearance/sense of being in/from a confused contemporary rural society and to
some others a larger than life, mystical, otherworldliness, dream like presence
to their character.
As the drama unfolds the encroaching mental and physical deterioration
of Hester Swane was convincingly supported by her changing, deteriorating
attire and appearance.
The Lighting Design was subtle and sensitive in conveying changes of
location, time and bringing emphasis to dramatic moments.
Overall a contained, dramatically open, uncluttered setting in which
this edgy, unsettling and at times very humorous, subliminal Greek tragedy
unfolds.
The
programme at €5.00 contains information on The Abbey Theatre, an informative précis
by Mary O’Malley on writer, play and meaning, Biographies on the cast and crew and
listings of friends and advertisers.
Programmes
that provide content such as the Director’s view on the play and/or comments
and sketches by the designers giving insight into some of the thought process
behind the concept development are to be encouraged. Such input from the Director
and the Designers is of immense value to students of Design for Stage and
Screen, Performance, Design for Performance and when provided is to be
welcomed. The Abbey Theatre on-line resource does show images by Ross Kavanagh of
the set, stage and characters at: https://www.facebook.com/media/set/?set=a.10153083826495642.1073741895.97959920641&type=3&utm_source=wordfly&utm_medium=email&utm_campaign=BTBOCReviewe-card&utm_content=version_A
