A recital of the mastery and originality in Cónal Creedon’s dramatic works for the stage can be seen in two distinct productions, which have fortuitously coincided with him winning the coveted Leonardo da Vinci World Award of Arts 2024 conferred by the World Cultural Council. These plays underline his unique capability of illuminating dark corners with his artistry.
His play “The Cure”, staged by Hiya Fella Productions, reflects Creedon’s deep engagement with colloquial language which edges towards the poignant. In the protagonist, Seán, as portrayed by Ciaran Bermingham, navigates his way around the city centre, his journey terminating in an early morning pub for an alleviating pint, almost akin to an urban pilgrimage during Christmastime. His alcohol-soaked recollections revolve around past regrets and disillusionments.
The narrative in itself doesn’t carry unusual revelations; it’s how it is delivered which injects humour into the otherwise mundane insights, pulling at sceptical chords. Bermingham’s expressions turn mocking, his tone grating and cynical, questioning changes, decay, and reminiscing vanished milestones, implying a life defeated.
Indeed, the function phraseology local to the area weaves a rich texture around this monologue, filled with nostalgic memories, unveiling truths, and perhaps hinting at redemption. Al Dalton adopts a steady direction for this beautifully portrayed blend of comic and sobering themes, orchestrating a mental journey that leans more towards a self-realising pilgrimage than random wandering. Throughout this, Bermingham dons multiple roles, each bursting with layers of connections and dedication.
The Cure will continue showing at Cork Arts Theatre until the evening of Saturday, October 26th. In contrast, the production “After Luke” has also gained four stars at the same theatre.
“Recalling Creedon’s reimagining of the Prodigal Son tale in ‘After Luke’, his unorthodox story combines irreverence with humour, set against a backdrop of synchronised sound and light. This presentation entitled ‘Lost in the Canon’, emphasises the gaps left by the Evangelist in the original parable, notably the omission of the prodigal’s mother’s backstory, which is completely overlooked in traditional interpretations.
‘After Luke’, initially staged in 2005, could be referred to as an unofficial adaptation. In this version, the Son, who remains unnamed, enjoys the tranquillity and rhythm of his father’s car repair business, navigating his existence carefree in sturdy boots. His younger brother Maneen, harbours greater aspirations, heads to England only to return empty-handed and momentarily humble.
Stereotyping to some extent remains unavoidable as both young men are portrayed as excessively emotional rather than overly dramatic. Son’s laughable simplicity and local ties, and potentially, Maneen’s smug manipulation are somewhat exaggerated. Despite the excess, performances by Niall Holland and Simon McKeon are filled with intense anger and grudges, while Leon Danza’s gentle direction skillfully juxtaposes farce with solemn gospel narratives.
It’s rare for negative outcomes to be considered satisfying, but the energy and domestic comedy of this adaptation provokes a desire for unconventional endings. When Mike O’Dowd, in the role of Dadda portrays the parental figure, he resignedly acknowledges at the end that the boys will inevitably continue to behave as they do.
‘After Luke’ has now completed its run at the Cork Arts Theatre.”