THERE is tension on and off The stage at the 44th All Ireland Amateur Drama event is conducted by the, Amateur Drama Council of Ireland, but many participants are members of the Drama League of? Ireland. Next Monday, fours members of the League's National Executive Council will apply for an injunction, on behalf of the NEC, concerning the publication and advertisement of the 31st Gormanston Summer School by three directors of the summer school. The application will be brought under Article 4, sub section 1 of European Communities (Misleading Advertisement) Regulations 1988. Using the title Concerned Members Nationwide, a number of DLI members have met and have voiced their opposition to their NEC's action. The debate continues in Athlone hostelries.
Sundrive Players, Dublin, opened the festival. Previously, they gave polished productions of well tried classics. This year, in The Mai by Marina Carr, they seemed a little unsure of its shades of Friel and Murphy with its difficult structure, outlining the predicaments and recollections of seven women and a man. Yet in moments of set piece drama, as in the scene after the Lions' Ball, they were absolutely comfortable. Intrusive cello music with unsynchronised miming, jerky lighting changes, with some mis-use of filters, loud voices from behind glass these irritations married strong performances and sensitive direction. As usual, however, Sundrive impressed.
Seldom does lighting receive applause, but Kilmeen Drama Group's introductory highlighting of Brian Friel's characters set their Dancing at Lughnasa on a positive course that never flagged. Through scene after scene they drew a rapt audience more and more into the difficulties, suppressed life but warmth of the Mundy home. A Rose hitherto undiscovered in depth, a Kate more vulnerable than usual, an Agnes who sent signal after signal of heartbreak silently endured memorable features all. A pleased audience will also remember a detailed set of flagstones and a working pump, excellent pace, movement, group in and an idyllic finale.
Dalkey Players attempted to find more humanity than usual in the title character of Hatchet by Heno Magee. Therefore, the piece lacked menace for too long. These Baileys never stood a chance against Johnnyboy Mullally whose arrival late in the day jolted the play into a viciousness its text had screened for earlier. A knife drawn in the manner of a fountain pen. A bottle broken for a fight, then poised as if it was a leather duster. Arms waved in desperation as if their owner was about to sing Ole, Ole. Yet the blowzy Mrs B. and company kept interest alive and Dalkey's treatment of the final showdown alone made the evening worthwhile.
Graham Reid's Remembrance is a strong comment on the heartbreak caused by the Northern troubles. Lifford Players skillfully tackled its awkward to and fro construction, beset by daologues. But their production remained static in a set that restricted movement. One ill focussed lantern spoiled an otherwise accurate lighting design and the effective final fade on the cemetery seat begged for another few seconds. Each perfectly cast player, however, offered something quite special.
Omagh Players paid their first visit to Athlone and left their audience wanting them back. They succeeded in overcoming the difficulty of maintaining momentum in Bernard Farrell's I Do Not Like Thee, Dr Fell, but in the play's later confrontational scenes, high pitched Northern accents and crude blood make up caused problems. The cast exploited the comedy, yet underlined the deeper moods of the characters. A most entertaining evening, assured by fine acting and directing.
With Arthur Miller's A View from the Bridge, Torch Players jolted their audience to edges of seats with a passionate, powerful production. Before a well lit, if slightly restrictive set, Eddie Carbone's destruction of himself and those he loves has seldom been put across so effectively on an amateur stage.
