Adelphi ‘63 – Smock Alley – Review

Dates – 21 Apr – 3 May

On November 7, 1963, The Beatles played two sold-out shows at the Adelphi in Dublin, at 6:30 and 9:00 p.m. This would be the only time the band performed in Dublin, and for those inside the venue, it remains a piece of history. This new work, written by and starring Laura Brady, explores that day through the eyes of two teenage girls eager to escape the constraints of life in Ireland over 60 years ago.

We meet the “two cousins who are also best friends,” Mary (Laura Brady) and Brigid (Jessica Dunne Perkins), as they sit in their kitchen at the end of the working day. We learn that they now live together, as Brigid and her mother have moved in with Mary’s family due to an unspecified financial difficulty. Although the cousins have been close all their lives, this new arrangement has subtly altered their dynamic. Brigid, the elder, is working, while Mary is still at school and sees the world differently. Mary has always called her cousin Bridie, but Brigid now insists on the full version of her name, asserting her adulthood. Mary longs for the recent past, when they would listen to music and dance together. One evening, while listening to the radio, they hear exciting news: the Fab Four are coming to Dublin. A ticket competition is announced, and they enter, hoping to be the lucky winner…

The play is a comedy, and its opening is packed with gags, many drawn from the language and idioms of inner-city Dublin. The two girls, from “the flats,” have a colourful and expressive way of speaking. While the Church is a clear presence, it does not dominate events. Mary, in particular, has a somewhat transactional relationship with the Lord—even attending a Protestant church to pray for Beatles tickets. As one might expect, her prayers are not in vain. Alongside the humour, a more substantial subplot allows the play to explore the social norms of the time. Through the eyes of these young women, the 1960s emerge as a period of change and excitement. There are frequent lively sequences in which the girls act out films of the era (such as Cleopatra and Spartacus) or dance along to contemporary pop hits.

The set presents the kitchen of an inner-city flat, with yellow walls and flooring, furnished with 1960s-style tables and chairs. A picture of the Sacred Heart is the only wall decoration, while a variety of lampshades hang overhead. It is a simple, effective design that could easily travel to other venues.

If you are looking for a strictly realistic portrayal of life in 1960s Ireland, this may not be it. The production places comedy firmly front and centre, rarely letting a minute pass without a joke—and most of them land. At its heart is the relationship between the two cousins. The onstage chemistry between the actors feels genuine and engaging. It is a bright, energetic, and funny piece that will resonate with audiences of all ages.

WRITTEN BY Laura Brady
STARRING Laura Brady & Jessica Dunne Perkins
VOICE OVER by Peter McGann
DIRECTED BY Emma Finegan
SET DESIGN BY Anika Kidd
COSTUME DESIGN BY Mae Leahy
LIGHTING DESIGN BY Suzie Cummins
SOUND DESIGN BY Lara Gallagher
MOVEMENT DIRECTOR Jade O’Connor
PRODUCED BY Muirenn Lyons
STAGE MANAGER Kaitlin Gaddy
PRODUCTION MANAGER Ellen Hodgers
GRAPHIC DESIGN BY Louise Brady
PHOTOGRAPHY BY Zoë Birkbeck
DRAMATURGY BY Caitríona Daly
SCRIPT ADVISOR Gordon McCaughley