Grenades, Bewley's Café Theatre- Review

In theatre today, the responsibility of a production’s success lies largely on the shoulders of the director.  Audiences often desire to experience something new or shocking; thus it is sometimes refreshing to attend a production such as Grenades, that although incredibly simple, still offers a highly effective theatrical experience.

Grenades was originally produced in 2010 as a radio play and since then has soared into theatrical success, both nationally and internationally. With a minimal set, simple lights and one actor on stage, Tara McKevitt’s production is stripped back, relying largely on language to communicate the story of troubled teenager Nuala Kelly (Emma O‘Grady). 

Set in Northern Ireland, the play explores the devastating effects that political turmoil can inflict on families. Exploring the victimization of children during political agitation, McKevitt’s production focuses solely on the character of Nuala Kelly, an outspoken, opinionated nine year old. Emma O’Grady captures the innocence of the boisterous child, who offers us glimpses into the local community through her animated impressions of characters such as Elaine Jam-Jar Glasses. However, when Nuala’s loss of family is revealed, the play poignantly probes the long term effects of such psychological damage.

The set is simple, yet purposeful. Consisting of  plain walls and a simple green plastic chair, one remains unsure as to whether Nuala is inside a prison cell, or inside the waiting room of the prison. This creates a level of uncertainty regarding the plot throughout. The frozen clock on the wall is perhaps symbolic of Nuala’s inability to emotionally progress from the day her life was destroyed. One gets the impression that the story she shares with us is one that she delivers on a regular basis.

Along with Caroline Lynch’s crisp direction, McKevitt’s writing is authentic and sensitively captures the voice of a child. However, it is Emma O’Grady‘s performance that brings the production to life. While the thought of one actor on stage for an hour can seem monotonous, O’Grady’s performance is engaging with her ability to entertain and move her audience.

 

As I had never attended Bewley’s Café Theatre before, I was slightly unconvinced that such a minimalist theatre could prove to be as effective as a production in a larger, more equipped space. However, after observing people sit around tables, sipping tea and coffee like one would in their own home, while still listening intently to the performance on stage, I believe I am reformed . While it would not be the case for every production, the relationship between the actor and the audience was intensified hugely due to the level of intimacy created by the space. This added significantly to the overall production and allowed us space to listen to each word delivered by O’Grady.