Reviews

John O'Conor (piano), NCH:  Beethoven - Sonatas Op 54 in F. Op 57 in F minor (Appassionata). Op 78 in F sharp. Op 79 in G. Op 81a in E flat (Das Lebewohl)

The variety and scope of Beethoven's piano sonatas never ceases to amaze. Monday's recital by John O'Conor, the sixth in his series of eight, included two giants and three smaller pieces; and the juxtaposition showed that one can not justly speak of the latter as lesser works. They are different in style and purpose.

The first movement of the Sonata Op. 79 in G plays around with material based on the Ländler, and turns this heavily accented German folk dance into a thigh-slapping romp. John O'Conor presented it as Beethoven in his best cock-a-snook form.

Around the same time that Beethoven wrote Op. 79 he also produced one of his more weighty sonatas, Op. 81a in E flat (Das Lebewohl). The finale's extreme contrasts of powerful material offer temptations that many performers cannot resist, and that all too easily lead to a rather disconnected relishing of individual phrases as the expense of wholeness. One of the most striking aspects of this recital was this sense of wholeness. The long-line approach that is one of O'Conor's hallmarks as a Beethoven player inevitably carries the risk of underplaying the contrasts that made these sonatas sound shocking to the composer's contemporaries. So it was rewarding to hear the differing ideas of the Das Lebewohl finale so strongly characterised, yet so strongly knitted into a grand scheme.

That success depends on large-scale pacing, and on local colour. John O'Conor showed that equally in the lighter works, such as the Sonata Op. 54 in F, and in the serious challenges of the Sonata Op. 57 in F minor (Appassionata). Its finale was a treat, thanks to playing that trod impeccably the overlapping boundaries between virtuosity and impetuosity.

- Martin Adams

Series continues on Monday, April 18th

****

Stuck in the Mud,  Draiocht, Blanchardstown: The high reputation established by Kilkenny's Barnstorm Theatre Company for engaging and stimulating theatre for young people is consolidated here. Its deceptively simple plot and characters probe deeply into credible relationships and, by the end of its near-90 minutes, cause and effect have been sensitively linked.

Andy's parents have separated, and we meet him as his father returns to take over for a few days in his mother's absence. The boy is confused and uncooperative. His best friend Mark, whose father has also left home, is temporarily estranged by reason of their mothers having quarrelled. And the school bully, entrusted with overseeing the playground, is an older girl.

It's a lot to handle for a boy who feels increasingly isolated. His friendship with Mark wobbles, but is finally proof against hostile pressures. His father also proves sensitive and caring. The politics of the playground are neatly developed, with two girls suffering the same humiliations as the boys. The time comes when the quartet make common cause in a liberating mutiny, a step on the road to psychological independence.

Author James Butler, whose first play this is, fits nicely into the Barnstorm milieu, creating the strong bones of a play open to Jim Nolan's authoritative direction, Blaithin Sheerin's versatile set design and the rest of the creative team. Sean McDonagh is excellent as Andy, as is Ciaran McMahon as his father. Jennifer Barry is a convincing bully, and Maurice Walsh, Ailish Symons and Sinead Murphy complete the persuasive cast. Theatre of this excellence does more than entertain its youthful audiences. It is also taste-forming, and helps to prepare them for the adult theatre to come.

- Gerry Colgan

Touring until mid-May, to Mullingar, Dún Laoghaire, Limerick, Longford, Tallaght, Waterford, Dundalk, Castlebar, Sligo, Ennis and Galway