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Jimmy Fay’s new Bedrock production is about the fate of three twentysomething Manhattan slackers in 1982, living the ‘greed is good’ ethos of the period. Any similarities to Celtic Tiger Ireland are purely incidental, he says

THE REHEARSAL room in Team theatre looks like a squat circa 1980. A mangy mattress, half-heartedly draped in grubby grey sheets, looks forlorn without its bed frame. Records and toys are strewn randomly across the floor. A table is laden with half-empty packets of biscuits, unfinished cups of tea and streams of loose, typed paper that might be a play script; they are dog-eared and dirty and laboriously decorated with cryptic scribbles and question marks. Face unshaven, clothes slightly unkempt, Jimmy Fay looks like he might live here: it is a lunchtime in the latter days of the last week of an intense four-week rehearsal schedule for Bedrock’s new production, so he might as well. In fact, when he was setting up Bedrock Productions 16 years ago, this is exactly the sort of place that Fay lived.