Gritty, engaging and intrinsically Irish, this tale is a good excuse to visit the theatre and get out of the chilly weather this March.
As the 25th anniversary of the Good Friday Agreement nears, ‘Under the Black Rock’ is a gripping yet gloomy reminder of Northern Ireland’s turbulent past.
Written by Tim Edge and directed by Ben Kavanagh, it runs from March 2nd to March 25th at the Arcola Theatre in Dalston.
The thriller is set in Belfast and examines the sliding fortunes of a family at the height of the Troubles.
With a twisty plot and a subtle injection of gallows humour, it is not perfect but mostly keeps your attention captured and your curiosity piqued.
It stars Evanna Lynch, best known for her role as Luna Lovegood in the Harry Potter film series. Lynch plays Niamh Ryan, a young woman who is drawn into the conflict as part of a community where secrecy and treachery are commonplace, and no-one is quite who they seem. The role is a far cry from the wizarding world, and Lynch portrays Niamh’s sense of zeal and her eagerness to prove herself with assurance.
Lynch’s name and face may be on the poster and programme, but she is ably supported by co-stars John Nayagam and Glen Wallace. Flora Montgomery gives a memorable performance as the matriarchal figure whose steeliness is torn apart by the events of the plot. Jordan Walker portrays the youngest member of the family who is drawn into the political weave of the Troubles. He demonstrates an ability to showcase the vulnerability and impressionability of so many youngsters who became involved in the cause during that time. Elizabeth Counsell stars as Mary O’Brien, a role that features less prominently than others but delivers some of the best lines. Her character is more senior and has more life experience than the others, with an admirable ”been there, done that, got the t-shirt” attitude.
Questions are posed about family loyalty, morality, and how young men and women are drawn into the well-documented violence.
No subjects are off-limits, as brutality, interrogation, anguish, remorse and many other topics are explored.
The titular Black Rock looms over the stage at all times, and is designed to look as if it has been secured quite flimsily by a rope. As the characters go about their questionable business underneath it, the precarious rock is an ominous reminder that things could come crashing down at any minute. As the play progresses, it almost becomes a character in itself.
This kind of imaginative detail in the set design adds to the gloomy feel of the play. The inventive use of lighting is also a plus, with bright spotlights, dim flickers and the occasional shock blast of light reflecting the moods and predicaments of the characters. But there is room for improvement in the props department, with the occasional gunshot not being in sync with the speed of the weapon being raised. And some fight scenes came across a little lacklustre and needing more gusto.
Overall ‘Under the Black Rock’ is a worthy watch and a pertinent reflection on Northern Ireland’s violent past.
Playwright Tim Edge says: “I worked and travelled extensively in Northern Ireland during the Troubles. I still maintain a deep affection for the people of the six counties. They have endured so much and deserve the consolation of optimism and relative stability. The play is dedicated to them.”
Reviewer: Miles Morgan