The Irish Timesreviews the new offerings in the arts
Complexity
Block C, Smithfield market, Dublin
Even on an unseasonably balmy evening, Smithfield is like a ghost town; an eerie atmosphere of desertion shrouding the empty plaza, which was once a beacon of optimism for boom-time Ireland. The surrounding buildings are either recently abandoned or have never been occupied, while among the hundreds of apartments only an occasional window lights up the sky. Even the polished facade of Block C, where a group of actors are momentarily reanimating the area, conceals a raw concrete unfinished interior.
On a sprawling scaffold-set, designed by Sonia Haccius, Vanessa Fielding's promenade production of Anthony Goulding's play Complexityabsorbs the eerie atmosphere of Smithfield, its social dissection of contemporary Ireland resonating through the empty streets outside. Complexity charts the final days of a working-class community in inner city Dublin, as they await the planned regeneration of their area. Through characters such as drug-dealer and philosopher Budda, heroin addicts Posh and Decks, wannabe freestyle rapper MCD7, petty criminal Sat Nav, and good girl Glenda who has outgrown them, Goulding translates the community's history as the inevitable, unshakeable weight of social oppression: if only they all could have made something of their lives – footballing or recording careers.
Like Dermot Bolger’s Ballymun trilogy, Goulding’s play addresses the social failures that have produced this culture of urban disaffection. Unlike Bolger’s trilogy, however, the unnamed community offers no sense of optimism and, in the context of the current economic climate, the metaphor of regeneration evokes a cycle of repeated sins rather than transformation. Yet, despite some vivid ideas and an unflinching approach to uncomfortable themes (underage sex in particular), the pessimistic social prescription is shared out in declamatory dialogue, and the descent into melodrama as ultimate sacrifices are forced upon the characters tugs the line from tragedy into farce.
David Gorry’s empathetic performance as Budda captures the unlikely charm of Goulding’s despicable anti-hero. However, his is the most fully realised character, and the rest of the cast struggle to find depth in caricature. Were this merely Budda’s play, Complexity might have achieved the deep investigation of contemporary Dublin that it was striving for. Until March 21st
SARA KEATING
America
National Concert Hall, Dublin
It has been 37 years since Horse with No Name propelled America to the top of the charts. At the time, other musicians congratulated Neil Young on his No 1 hit; such was the similarity between this new band and Young’s vocal style.
For all their success, the band America has lived most of its life in the shadows of the band to which they are so indebted. America are a fluffier, lighter version of Crosby, Stills, Nash and Young; big on soaring harmonies, light on the troubled politics of our world.
That said, the band came to Dublin – for their appearance in Ireland – buoyed by a critical reappraisal. And the notion that they just might be hip, after all these years.
America have been winning some impressive new friends, who insist the band’s song-writing talent is under-appreciated. Their latest album Here and Now, produced by Smashing Pumpkin James Iha features other luminaries such as Adam Schesinger of the Fountains of Wayne and Ryan Adams.
You see the confidence soaring through the band as they rolled out the hits and some decent tunes from their new album to a sold out audience.The band has been playing some 100 gigs a year since the early 1970s; these guys have little to learn about stagecraft and presentation. It helps that singer Gerry Beckley is such a warm presence as he introduces the songs and rolls out the memories. His partner Dewey Bunnell brings the audience to its feet with Tin Man, the first song the band recorded with George Martin as producer. Martin would go on to produce seven albums for the band but Tin Man, Dewey’s cryptic take on The Wizard of Oz, remains a stand out.
Other hits – Sister Golden Hair, Ventura Highway, Lonely People, and Don’t Cross the River – were rolled out with an infectious enthusiasm. There was the real sense that Beckley and Bunnell – ably supported by their long time band – were enjoying the ride. The band encored with (what else?) Horse with No Name. But by then the audience was already on its feet and this fine venue was rocking.
It was Neil Young who said that music will not change the world. Maybe that’s true. But America show that good songs and glorious melodies can still lift the spirits.
SEÁN FLYNN
