No Citation – Smock Alley – Review
by Brian Merriman

20 – 23 Nov 2024 @ 8pm – Boys’ School

Teatro Nua presents this 70-minute musical play, which has finally arrived in Dublin, having had its premiere two years ago north of the border. Writer/composer Kyron Bourke is a descendant of the theatrical Bourke family that dominated Irish theatre for much of the 20th century. His ancestors ran the Olympia, and his aunts had a renowned costume business nearby. He was brought up in theatre. It is in his blood and as Teatro Nua makes its own name today, the talent on stage is equally worthy of association with the noble Bourke legacy of yesteryear.

There is a very fine line here between that legacy and these characters,  when you listen to the central piano man’s (McCarthy/Bourke’s) story, because there are so many references that could be inferred to the Bourke dynasty, with the hopeful exception of the shenanigans in Granny’s salon!

The programme tells us that “After breaking into derelict Dimitri’s Piano Bar, McCarthy (Bourke) attempts to treat his audience to an evening of his latest songs, but finds he’s being interrupted by ghosts from his past”. Unfortunately, none of this is portrayed on stage. There is no break-in and no introduction to the derelict piano bar. Instead, we are treated to a sublime piano accompaniment as we enter the venue. The play struggles from this assumption.

There are three onstage performers from the central character’s past, including Maeve Smyth as ‘all the women’ and Padraig Dooney as ‘Milton Midnight Hawkins’ – both who played considerable roles in McCarthy’s last life.  There are two sides to this performance, the narrative and the music. The narrative is somewhat plot opaque. It doesn’t set up the main character or location and is full of angst and regret. There is more scope for light and shade which remains undeveloped.

The other element is the hugely impressive musical score, the arrangements and the performances. Bourke, Smyth and Dooney shine in their delivery, beautifully supported by the musicianship and arrangements, finely delivered by four accomplished on-stage musicians.

Bourke’s ‘Cohenesque’ rasp is full of music and emotion. Dooney is an illuminating young foil, a saxophonist who succumbed to drugs decades earlier, who returns to accompany him on his unexpected final gig. Smyth confidently plays and sings many roles, all ending in romantic failure. There is a wealth of quality original music which too often relies on the ensuing narrative to end the songs. There is even a similarity in one number to the musical ‘Chicago’s’ famous ‘Cell Block Tango’!

For those of us who knew, respected and remembered the Bourke dynasty, at times, the narrative is close to the bone. The exaggeration of certain scenarios doesn’t persuade us that we are always dealing with a character called ‘McCarthy’ all the time.  He is a musician, has lived in many places and paints – so does Bourke.

There is an underscore here which may yearn for the glory of previous theatrical generations…but it doesn’t matter to us as much, because the onstage artistry of this generation is obvious and accomplished. They are a prolific family – there should be space for all to shine.

The structure of this piece could be reviewed to maximise the artistry of the composition, the authentic arrangements and also, to expose the positive heart of the central piano man. No doubt ‘McCarthy’ had a varied love life and a lifetime of experiences – good and challenging. Not all of those experiences were full of regret and angst? There is huge scope here for a lot more musical and dramatic contrast and judging by the quality of the musical composition, there may only be even more to look forward to.

WRITTEN BY Kyron Bourke
DIRECTED BY Rhiann Jeffrey
PRODUCED BY Bernie Bourke
LIGHTING DESIGN BY Ciarán Gallagher
SET DESIGN BY Teatro Nua
COSTUME DESIGN BY Teatro Nua
SOUND DESIGN BY Michael Brady
PHOTOGRAPHY Stephen Dunwoody
VIDEOGRAPHY Sophie Merry
Early development support provided by Jimmy Fay, Morag Keating, Ian Vennard (Sound and Video), Emily DeDakis (Dramaturg), Paula O’Reilly (Choreographer) and Jonathan M Daley (Lighting Designer)

CAST: Kyron Bourke Padraig Dooney Maeve Smyth
MUSICIANS: Linley Hamilton, Hammy Hamilton, Colman Dooney Stephen Davis