On Wednesday 1st
of October last I attended an edgy, gripping performance of “Spinning” at The Smock
Alley Theatre in Dublin. The production was written by Deirdre Kinahan (Halcyon
Days). Directed by Jim Culleton, Set Designed by Sabine Dargent, Costume Design
by Leonore McDonagh, Lighting Design by Kevin Smith, Hair and Make-up Design not
credited
This edgy, unsettling drama is set on a symbolic, isolated, raised tidal
island in a dark, spacious limbo observed by darkened audience from three sides.
Anticipation stirs as the house lights darken and the characters brighten through
the gloom, revealed on a raised, hard, weathered copper surface, the edges
encrusted with exposed low-tide marine molluscs.
Sabine
Dargent presents the performance space as a two tiered low raised flat topped
irregular shaped rostrums. They appear to be topped in sections of weathered
copper or brass sheeting which gives a slightly reflective patina and muted
hardness to the surface. The rostra facia is textured as low-tide exposed rock
or harbour wall, encrusted with molluscs and fragments of marine detritus. The undercut
facia is under-lit, which is used sparingly to dramatic effect. The rostrum levels
a texturally welded to the level below by a rim of encrusted molluscs, grit and
fragments of marine detritus. Has the tide has gone out for Conor?
The
timely 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 performance space is anchored by a small round metal, glass topped
table and two chairs with character.
Overall presentation is visually pleasing and appropriate to the drama;
the scenic elements are economically skeletal and effective. The backing of
black drapes an partially lit back wall of the theatre gave a subdued starkness
to the space. This assisted in confining the observer’s attention on the performers,
an effect which was supported by Kevin Smith’s lighting.
Leonore
McDonagh’s Costume Design was effective
in giving the characters a credible appearance/sense of being in/from suburban
Dublin, in/at a rural seaside small town. Self-employed/Working class, 17, 25
to 40 year olds in a confused contemporary society.
As the drama unfolds the encroaching mental and physical deterioration
of Conor was convincingly supported by his unchanging attire, symbolising his
inability to change. This in contrast to the costume changes reflecting the growing
confidence and assertiveness of Conor’s estranged wife.
The Lighting Design was subtle and sensitive in conveying changes of
location, time and bringing emphasis to dramatic moments.
Overall a contained, dramatically claustrophobic setting in which this
edgy, unsettling drama unfolds.
The
programme was good value at €5.00 apart from information on Fishamble,
biographies on the cast and crew it contained the script with the writers stage
directions.
Programmes
that provide useful 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.
