by The passengers distract themselves on board the cruise ship of the crystal prophecy while sailing into the Arctic to see where the ice was. In the exuberant vision of the Malaprop Theater Company from the climate crisis, different elements of an ensemble of five actors who play several roles and by director Claire O’reilly are juggling in.
In the drammed script written by Carys d Coburn and the company, the cruise ship is a high camp frame for a burlesque floor show in which orange dancers earn than the many types of songbirds that are extinct. Later they play a rabbit that is poisoned by pesticides and a humpback whale that suffocates on plastic. When he houses the cabaret, the wild -eyed captain (Peter Corboy) makes the birds in pot shots and kills them with an interrupted comment that manages to allow some space for hope.
In the near future, the leading ideas of production switch to 1969, then 100 years, in Rachel Carson’s pioneering environmental book, Silent Spring, here to a nine -year -old girl, Ruth (Ghaliah Conroy), in the 1960s Dublin. Like Ruth’s story and that of her violent, alcoholic father (Bláithín Mac Gabhan) and the abused mother Barbara (Thommas Kane Byrne) in the broader context, but if we move to the next generation, it begins to make a thematic sense.
The cleverly staged climax on the “deeply sticky, deeply ironic boat” is a disaster that no one had expected because it assumed that the world would end before it happened. Due to the character of Ruth’s daughter Ali (Maeve O’Mahony), the experience of her mother and grandmother is to deal with abuse, to adapt, exquisite and feel powerless, metaphorically associated with Carson’s questions, why people accept “the inferior or the adverse” as inevitable. Burning questions from this company of flame thrower.
• in the project art center until April 19; Then they tour until June 5.
