In “Breaking”, Amy Kidd’s inaugural theatrical work, staged at Draíocht in Blanchardstown, she explores a controversial question. Where does Leo Tolstoy’s famous quote from Anna Karenina, suggesting that every unhappy family is uniquely miserable, factor in when the same troubled twosome is portrayed by multiple performers who represent an array of genders, nationalities, personal histories, and dialects?
The narrative revolves around Charlie, a jubilant but perpetually penniless shift laborer, and the introverted and worried Sammy, who is gainfully employed in an undefined white-collar profession. Their relationship crises revolve around routine disagreements concerning work, finances, friendships, and emotional openness, which surface in the early stages of the play.
As the storyline evolves, various talented performers, including Curtis-Lee Ashqar, Eavan Gaffney, Matthew Malone, and Jeanne Nicole Ní Áinle, take turns portraying Charlie and Sammy. The fluidity of such disputes is dramatically rendered by these actor changes. A disagreement about bill payment and its symbolism changes perspective when seen through the lens of a lesbian relationship versus a heterosexual one. The perception alters once again when the man in a heterosexual relationship is financially strapped compare to a partner in a queer relationship. Audiences reactions might contrast as they empathize with Ashqar’s charmingly posed question “Do you love me?”, versus feeling uneasy when Gaffney repeats the same question under similar circumstances.
The audience’s reactions during scenes featuring domestic violence, manipulative control, and emotional torment can be influenced by their views on power balance, class, ethnicity, and sexual preference. Malone’s performance is particularly impactful whether he’s depicting Charlie’s character or stepping into the shoes of the timorous Sammy.
The play ‘Breaking,’ produced by Fishamble, successfully sidesteps the pitfall of seeming like a classroom exercise, thanks to Kidd’s clear artistic vision. She argues that the text’s presentation benefits from actors each representing assorted racial backgrounds and cultures where possible. Kidd contends that the exploration of diversity, encompassing gender, race, sexuality, and beyond, should be driven by an inquisitive stance, rather than an intent to deliver explicit solutions or point out specific issues.
Drawing inspiration possibly from Brian Friel, Kidd employs a cunning theatrical strategy early on in the performance; an aspect that the audience only grasps the potency of later on in this testing narrative. The storyline addresses issues such as domestic violence and identity politics while skilfully eschewing cliched narrative elements.
The play will continue to be showcased at Draíocht as part of the Dublin Theatre Festival until Saturday, the 5th of October. Following this, performances will take place at The Everyman in Cork on Tuesday, the 8th of October, and Wednesday, the 9th of October.