Down the Flats

By Tony Kavanagh

The performance of 'Down the Flats' this reviewer attended was in Mountjoy Theatre in the prison. The cast were made up of ex-prisoners and professional actors, even though you didn't know who was who - you certainly couldn't tell by the standards of acting and that, of course, is the whole point. The production is transferring to the Crypt for a three week run from Monday 11 February.

Despite Governor John Lonergan's comparison of Tony Kavanagh with Behan in terms of good theatre emanating from Mountjoy, the writer is more obviously influenced by O'Casey both structurally and thematically. The poverty trap in Dublin and the addictions that go with it is his primary focus within a tragi-comedy form.

The play is set in the home of the Flynn family in one of Dublin's inner city flat complexes. The father of the house, a Corporation street sweeper, is a hopeless alcoholic. His erratic behaviour ratchets up the tension that already exists between himself and his son, Fran. That age-old dance of the young male squaring off against the father creates ferocious tension. Yet Fran realises that he will only survive if he takes himself out of his surroundings and the temptations they represent.

The bad atmosphere is exacerbated by Fran's continued criminal activities, even though he's barely a month out of jail. The mother is the confident calming presence in this simmering powder keg. Like in O'Casey's world, it is the matriarchs who provide the strength for others to pull through, even if they're teetering on the edge themselves. The daughter, Bridie, seems as capable as her mother, but heaps problems of her own onto the family's plate before the end.

The structure and setting of this play are very predictable, but it's shot through with such confidence in depicting its milieu that the sheer energy and entertainment value pull you along the simple narrative until the end. Kavanagh has a great ear for dialogue and there are some very funny lines indeed, ably served by a cast articulate with comic timing. The acting is very impressive from the entire cast.

Ken Fletcher captures a wonderful balance as a loveable rogue: his drunken fecklessness endearing and his vicious outbursts suitably repulsive. Owen McCabe plays Fran with a great charisma as the responsible, sensible thief, though if he could cut down the level of gesticulation it would be far less distracting for the audience, which is a small quibble for an otherwise excellent performance. Joan Pierce perfectly captures the quiet strength of the mother, whose decency and generosity of spirit may not be enough to save her family.

Joe Shannon makes a great impression as the as the shifty Henry, Fran's criminal partner. He played it so well, the only problem he might encounter in the future is typecasting. Joeleen O'Brien was very convincing as the daughter, Bridie, and I can only imagine that her frequent costume changes got a few cat-calls when they performed for the prisoners. Jimmy Kavanagh was excellent as her nervy drug-addled boyfriend, Paul. Both Geraldine Callaghan and Viviana Verveen provided some great comic relief as May and Margaret respectively.

The set was sturdily built by some of the current prisoners and the lighting was adequate. The use of old Irish ballads like Raglan Road or Thin Lizzy tunes over the scene changes was a rather obvious and distracting choice by the directors (or indeed the writer), Michael Roddy and Frank Allen, who otherwise did a commendable job. This is solidly entertaining, while never being light.

'Down the Flats' feels quite dated now, but this also underlines its timelessness and universality.

Nick McGinley