The Bald Prima Donna

Everyman Palace Theatre, Cork

That Eugene Ionesco's 'The Bald Prima Donna' is something of an anachronism there can be no doubt. Both within a theatrical and social context it is a throwback to a far more simple time of drawing room comedies and broad national stereotypes. This is not to say that it is an unsophisticated play, just that these are more sophisticated times. The play itself is so emblematic of innocence that it ought to belong within that glass menagerie of dramatic works that once represented something vital but now appear petrified and quaint. It is a credit, therefore, to this production, by Cork-based Asylum Theatre Company, that there is still a place in this world for gentle absurdism.

The ultimate English couple, the Smiths, are awaiting the late arrival of their dinner guests, the Martins. As the play opens, Mrs Smith extols the virtues of their ritual English supper with English beer "because we are English, because we live in the suburbs, because we are Smith". Slowly the twists in logic unravel as the conversation takes a surreal turn. By the time the mouse-like Martins and the bored fire chief arrive the situation has descended into chaos.

All six characters are played by Donal Gallagher and Geraldine O'Grady. This stripped down cast mines new possibilities. Each character is clearly defined physically, but as Gallagher and O'Grady peel off from each personae the chaotic mood is enhanced by the idea that we are watching different layers of the same psyche.

In one of the more interesting sequences they present a series of reaction shots so fast that they create the impression of an actual assembly of people. There is also a nice surreal moment when O'Grady, as Mrs Martin, utters the line to Mr Martin on the couch next to her, "you didn't see yourself in the mirror this morning" before jumping up and becoming Mrs Smith, leaving Mr Martin responding to the empty space where she sat, "that's because I wasn't there".

Those familiar with the play will notice that Asylum have radically overhauled the extended passage that occurs after the mention of the eponymous prima donna with a sequence that is more contemporary and enigmatic. Some of the humour may be corny but this still makes for a satisfying production.

Don O'Mahony