The Pavilion Theatre in Dún Laoghaire is currently showing ‘Grace’, a profound interpretation of autism through the life of a non-verbal 12-year-old named Grace. Rated at four out of five stars, this play elucidates one manifestation of autism on its broad spectrum with sensitivity and thoughtfulness. Regardless of the limitations in verbal communication, Grace shares a unique bond with her father, facilitated by means such as a letter board. The connection with her mother, however, proves more complicated, and its resolution forms a portion of Jody O’Neill’s poignant drama plot.
Specifically designed to accommodate individuals with sensory sensitivity, the performances incorporate integrated captions and audio descriptions, and some even cater to Irish Sign Language. The set, a meticulous representation of a cluttered garden shed by Zia Bergin-Holly, is narrated in depth at the start. Grace’s father, played by Bryan Burroughs, serves a multifaceted role as a pivotal character in Grace’s life, the narrator, and the mediator for the audience.
Significance in the story is attributed to a sparrow and a ghost, as revealed in Grace’s scrapbook – The Book of Grace. The ghost, it turns out, is her father’s. The knowledge of his impending demise from the start does not mitigate its impact. The simplicity of the anticipatory grief narrative proves to be effective.
This new offering for children and family audiences, directed by Niall Cleary and presented in collaboration with Graffiti Theatre Company, Once Off Productions, and Cork Opera House, extends O’Neill’s exploration of autism through drama. ‘Grace’ prompts audiences to consider if they can truly comprehend without speaking or elaboration. The play thus provides a compelling and emotional portrayal of a young autistic female’s intricate interaction with life.
Utilising an array of intricate devices, including projection, shadow play, a whiteboard among others is an important tactic for Grace to communicate and demonstrate her cognitive processing. These elements are not just practically useful but they hold an undeniable charm and theatrical appeal. Grace’s circumstances, living with autism, can be likened to having colourful roots underneath her tree or possessing octopus-like tentacles for feelings, an open heart, and incredibly active arms that can’t be contained.
In this theatrical setting, Burroughs and Grace Kiely offer perfectly synergised performances as her parents, while Eleanor Walsh delivers an exquisite performance as Grace, offering both precision and subtlety.
It is essential that the audience trusts in the visual narrative unfolding before them, a concept which elevates the pre-existing contract of theatre. The play showcases the simple yet deceptive presentation of the intricate complexities of an autistic girl’s perception of life. It firmly establishes the presumption of her capabilities and intelligence, despite her speech impairment.
This elegant work, ‘Grace’, undoubtedly merits attention from both those who are familiar and unfamiliar with autism. As indicated in the play, some individuals struggle to perceive others unless they express themselves verbally, while others need a more visual representation. Following its stage debut at the Pavilion for the Dublin Theatre Festival, Grace is scheduled to be performed at the Nun’s Island Theatre in Galway, from the 12th to the 15th of October as a part of Baboró International Arts Festival for Children.