“The Vacant Rookery
At The Cork Arts Theatre
★★★★☆
Oisín Flores Sweeney’s engaging play lasting just 55 minutes, leaves its audience delighted yet yearning for more. Cogently presented by Blood in the Alley, directed with flair by Geoff Gould, the play highlights a married couple on the brink of mid-life, struggling to adapt to their newfound childless home and social life.
The spotlight is on Tony, impeccably portrayed by Seamus O’Rourke, a character rooted in fatalism and insistent on perceiving the present and future as meaningless. Confronting his despair, is Sheila, brought to life by Joan Sheehy, who wields a sharp tongue and recognises the opportunities that changes in life bring, whilst being cognisant of the impending barrenness of their years within marriage.
The couple sit armchair to armchair during the course of one evening – a mirror to every previous evening. They seek amusement from their elderly television, their reactions bouncing off each other as they switch channels, subtly implying that the command over their remote symbolises control over life. This is evident from their opinions; Sheila takes great interest in Naked Attraction while Tony considers the substance of feminine hygiene advertisements. The barbs and repartee between them uncover the realities of a long marriage, diminished by disillusionment.
The text goes on to cover other topics such as ‘The Top 10 Irish Bakeries’, ‘Keely O’Grady of New Zealand winning the Rose of Tralee 2024’, the highlights and low points of ‘Electric Picnic 2024’, and a piece on ‘Menopause and HRT’.”
From start to finish, the sharp wit permeating the performance is both amusing and unarguably believable. The astuteness of the comedy derives from its unpredictability, intertwined with the delight of unexpected humour, the improbable, and what’s probable but somewhat twisted. Sweeney’s acute sense of humour veers away from heart-warming, sunny narratives, even though faint traces can still be found. The two central characters fiercely exchange verbal blows, marking their frequent confrontations. Still, beneath the banter, an unspoken fondness and understanding exist – an understanding that their conversation is unlike anything they had ever envisaged, propelling them to a believable resolution.
The production’s energetic and profane dialogue isn’t the sole wielder of its diverse range of contrasting layers. Sheehy and O’Rourke’s roles exhibit not just a tinge of vitriolic contempt but also possess enduring empathy. Their varying gazes, dynamically transforming expressions play a pivotal role in their depiction’s authenticity – comparable to the sequence and breaks in their dialogue. Regardless of the bitter words, there’s an abundance of nuances to relish that extend beyond the spoken word.
Arran MacGabhann and Tadhg O’Sullivan are credited with the production’s lighting and sound design. However, the lasting impact of this exceptional performance – requiring more roomy armchairs – stems from Gould’s set design.
“The Empty Nest” is showcased at Cork Arts Theatre and runs until Saturday, August 24th.