Amelia
Cube, Dublin’s Project Arts Centre
★★★★★
Set in an imminent future, the rural inhabitants of the west coast have endured their fair share of catastrophes. An unpredictable climate, rampant pandemic, and the resurgence of former radio-wave technology characterise an earth where many animal species are extinct. “Amelia”, a play by Dee Roycroft, presents this bleak, ominous vision of our world after society has broken down.
But not all shrink under the weight of pessimism. A surprise visit from Davy’s (played by John Cronin) sister, Jan (portrayed by Claire J Loy), a global travelling bird scientist, brings about the familiar dynamics of sibling rivalry and familial squabbles challenging the sombre atmosphere. “You’re so tedious!” Jan retorts when Davy suggests she trivialises his challenges as the parent of a neurodiverse teenager – Bláithín Mac Gabhann’s character, Enda.
In Mac Gabhann’s spectacular portrayal, Enda exudes young frustration, retorting quickly, expressing aggravation with their small town, and pushing back against a father who restricts their exploration of the world. They also provide deep insight in the play. When Jan mentions her worries about Enda’s survival skills while travelling, the teen appears more concerned with an unseen future, stating “The birds aren’t returning, you know. None of it is coming back.”
This isn’t to say the narrative strictly sticks to a predictable future. A surreal occurrence sees a flying pig, the embodiment of the impossible happening, found on the family farm. When Davy criticises their decision to care for the peculiar creature (that they name Amelia Earhart), deeming it abnormal, it brings to surface Enda’s unease about their own neurodiversity.
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The play by Roycroft not only explores our potential future but also how these narratives will be experienced as theatre structures collapse. There’s a poignant moment where we see Enda dancing solitarily in his kitchen; suddenly everything plunges into darkness as the ensemble reveals an exhausted power supply. They even mention that the theatre has hit its limit for carbon usage for the night. In the gloom, they consider pivoting to an alternate play, reminiscent of the post-apocalyptic theatre group from Anne Washburn’s “Mr Burns, A Post-Electric Play”.
This situation helps disclose Claire O’Reilly’s masterfully crafted production reverting to a bygone era’s approach, with the play pressing forward utilising antiquated techniques. The scene of Enda’s passionate aspiration for life, as a youth eager to embrace worldly experiences, unfolds as the sound of a thunder-sheet intensifies and stage lights gradually intensify powered by a pedal generator.
There’s boldness in confronting the future, embodied in the decision to maintain the enchantment of theatre or the withheld affection of a father towards his offspring (It’s deemed Cronin’s top performance). Enda captures this sentiment saying, “Our world may be damaged, but it’s bloody beautiful,” “And it’s mine.”
The Project Arts Centre in Dublin will continue hosting this as part of the Dublin Theatre Festival until Saturday, October 5th.”