In its portrayal, The Dry (broadcasted on RTÉ One, every Wednesday at 9.35 pm) doesn’t help dismantle the stereotype of the Irish being alcohol addicts constantly on the edge. Ciarán Hinds, one of the principal cast members, in a chat with a British journal but lately, expressed that the drinking culture is firmly embedded in the Irish mindset. He also mentioned how under the influence of religious dogmas, Ireland has lived under priestly dominance unified under the concept of sin, for many years. However, it’s interesting the world isn’t often given the same image of other nations dealing with addictions or religious fanaticism.
Despite that, the second season makes noteworthy progress by shifting its focus from alcoholism and instead narrates a rather humorous tale of a dysfunctional family with their Irish roots only as a subplot. The magnificent performance by Róisín Gallagher in the role of Siobhan, is about a high-achieving former Londoner who has returned to her familial residence in the picturesque, quaint Dublin, for alcohol detox.
In this unfolding saga, rest of her family: the nosy mother Bernie (portrayed by Pom Boyd), who has faced up to her own alcohol addiction, attending AA meetings alongside Siobhan; her new partner, Finbar (played by Game of Thrones’ Michael McElhatton) now lives with them, whilst her father, Tom (another Game of Thrones star, Hinds), has been pushed out to the shed. The narrative also investigates love troubles for high-performer, younger sister Caroline (performed by Siobhán Cullen) and party-animal of a brother named Ant (Adam John Richardson) who struggles with his own drug abuse issues.
Penned by Nancy Harris, offspring of journalists Anne and Eoghan Harris, The Dry offers a fairly realistic picture of Dublin despite her own residence in London. As the story unfolds, we notice Siobhan striking a connection with an edgy lawyer (Sam Keeley) in Stoneybatter, and later to a gig at Vicar Street.
The implicit age discrimination that Tom faces as a delivery driver resonates with reality. ‘The Dry’ also succinctly depicts the almost dormant suburban life of the middle-class in Dublin, a largely untouched scene where your refuse collection company mistakenly collecting the wrong bin is the most thrilling event.
‘The Dry’ can’t fully evade cliches, such as the character Bernie, who is depicted as the typical meddling, passive-aggressive Irish mum, a stereotype that writers can’t seem to let go of. Notwithstanding, the performance of the actors is commendable and the script possesses an understated witty allure. Regrettably, it chooses to amplify the much-exploited cliche of Irish alcohol addiction – if one disregards these trite stereotypes, ‘The Dry’ emerges as a sparkling sitcom which is effortlessly enjoyable.