Shining City

Published Friday 7 March 2008 at 16:50 by Thom Dibdin

Rapture Theatre Company’s marketing campaign and programme synopsis for this first Scottish production of Conor McPherson’s Dublin-set play concentrates almost exclusively on the its final, enigmatic twist. Which does not just display a spectacular lack of self-confidence from the company, but is also a killer for the audience’s enjoyment.

The truth of the twist is that it is one of those little tweaks which might - or might not - change your perception of all that has gone before. It has only minor relation to McPherson’s major themes, which centre on the inability of men to find commitment in their religious, personal and sexual relationships. Prior warning of the twist’s nature, complete with cinematic references, ensures that these depths are rendered invisible to an audience focussed on second guessing the ending.

All of which would matter less if director Michael Emans had got more from Fintan McKeown than his insipid performance as Ian, the ex-priest and psychologist whose first patient, John (Michael Glenn Murphy) believes he is haunted by his dead wife’s ghost. McKeown’s stilted delivery all but destroys the superb naturalism of McPherson’s creation of two faltering men.

Murphy, by contrast, is inspiring. His timing and physical expression of John’s revelations to Ian of his relationship with his wife - itself dead - are compelling to watch. Melanie MacHugh and David Walshe put in strong performances in the secondary roles of Ian’s wife and a rent-boy he picks up. Karen Tennent’s design is clear in concept, but poorly realised and badly dressed.