Sorcha lives on the west coast of Ireland, she’s wanted to marry Marty since even before the Debs ball – he’s a county hurler and the envy of her friends – and now the moment has come.
Cutting through the conventions of dream dresses and the perfect proposal, Sarah-Jane Scott’s sharp monologue is told by a bride who’s just run away from her wedding.
Scott’s script says a huge amount about small-town society without ever being heavy-handed. She explores the narrow options for women in rural areas, and the limited narratives on offer: find boy, go steady, get married, have children.
There’s only one chair and this runaway bride on stage, which gives focus to the wonderful storytelling.
Amid the warm performance and some really funny lines are little blades of darkness, still performed in the same bright and smiley tone – the way Sorcha has engineered this marriage right from the beginning and the fact she’s only begun to consider her options when it’s a bit too late.
The marriage of simple form and subtle content makes this so effective.
What Scott does so well is stay in this state of ambivalence. Life is fine, good even, with Marty. “Find someone who’s good to you”, is her father’s advice. But is that enough? Sorcha isn’t sure and nor are we.