We already have this email. Mistaken identity, subterfuge or just straight up adultery? www.empresstheatre.com.au | www.redlineproductions.com.au, Review: Prima Facie (Griffin Theatre Company), Review: Superheroes (Griffin Theatre Company), Review: Wonnangatta (Sydney Theatre Company), Review: Distorted (Fixed Foot Productions). Eric is a hard man with a loving wife Bernie (Jude Gibson) and daughter Julie (Amanda McGregor), who will not be bringing up her baby as either Protestant or Catholic.

The play fulfills those aspirations to … Images by Yure Covich. But these are unusual times, so please check that events are still happening.

Anna Houston directs this Sydney premiere production with precision and grace, adding shades of nuance to its depictions of psychological ruin, unconscionable violence and political allegiances gone mad. Roy Barker and Lloyd Allison-Young on the set of 'Cedar Avenue'.Credit:James Alcock. The gun-toting Slim bewails his own bad timing at turning to terrorism just as the peace process has begun, before segueing into a discussion of the films of Ron Howard and Tom Cruise. Anna Houston directs this turmoil with restraint and subtlety, creating space for the audience to feel the force of the play’s casual brutality, without letting it tip over into the gratuitous. Amanda McGregor plays the dutiful daughter with poise and strength. “We must protect what we have”. Friendly warning! Playwright: David Ireland Habitually putting everyone in identity categories, his hate for “the others” seems to know no bounds; even his five-week old granddaughter is not spared. Divya Venkataraman, Posted: David Ireland's 2016 play is set in contemporary Northern Ireland, yet it has a wider currency at a time when nationalist movements and figures are on the rise. But Slim’s comic relief only underscores the segregation and suspicion of the other that are the logic of Eric’s existence. Slim’s sharply swinging moods are the comedic counterpoint of the play, played with a rallying energy and an ability to transport us all to the dogged streets of Ulster. On leafy Cyprus Avenue, divisions between Irish republicans and British-aligned unionists are as deeply etched as ever in Eric’s heart. She is a former arts editor and writer of the SMH and also an author. It is an absurd starting point for a gripping, funny, savage and astonishingly violent play that examines a man whose national identity is disintegrating. Eric is angry, white and privileged. But Slim’s comic relief only underscores the segregation and suspicion of the other that are the logic of Eric’s existence. Mistaken identity, subterfuge or just straight up adultery? Habitually putting everyone in identity categories, his hate for “the others” seems to know no bounds; even his five-week old granddaughter is not spared. Other cast members are much more polished with what they present, each remarkable in their respective roles, all of them compelling with what they bring to the stage. Cyprus Avenue tracks the consequences of a world where the politics of hate and scarcity are taken to their chaotic and devastating hilt. Stephen Rea as Eric, who believes his newborn granddaughter is Gerry Adams Photographs by Ros Kavanagh. We’re first introduced to Eric as he meets his psychologist, Bridget (Branden Christine). Lloyd Allison-Young gives a gobsmacking over-the-top performance as Slim, with a mesmerising mix of volcanic anger and humour. He's also sexist and racist – patronising the black female therapist, who coolly unpicks his beliefs (Branden Christine). Eric’s allegiance to the British shows signs of faltering in his bleakly funny, reminiscent monologues, but if anything, his flashes of uncertainty serve only to bind him ever more tightly to his rambling, blinkered paranoia. Direction by Anna Houston appropriately emphasises the quirky quality of Cyprus Avenue‘s comedy, bringing valuable balance to its otherwise brutal nature. Playwright Ireland makes a powerful statement about prejudice, with his flamboyantly brash approach offering a style of theatre that is full of dramatic tension, as well as ample opportunity for intellectual stimulation.
Benign almost. Violent and volatile, Slim nonetheless provides a moment of insight as he stares into the baby's face. He lives on Belfast's leafy Cyprus Avenue (about which Van Morrison sang so hauntingly).

As David Ireland’s darkly funny Cyprus Avenue zeroes in on the hyper-localised political tensions of Northern Ireland in the late 20th century, it also lays open the world like a mirror. This provocative Irish play is having its Australian debut at the intimate Old Fitz. By: “We are under siege,” says Eric at the beginning of the play. Cyprus Avenue review: A violent trip into a sectarian mind. She is young and black, and to him, represents the world in chaos. There are no easy answers in Cyprus Avenue, perhaps no answers at all, but it allows us to see, in what feels to be a thoroughly honest way, how terrifying humans can be. As he faces the prospect of his daughter raising her child to be “nothing,” not Protestant or Catholic, not Unionist or Republican, he unravels. The play unfolds in a series of flashbacks intercut with his therapy sessions. Venue: Old Fitzroy Theatre (Woolloomooloo NSW), May 15 – Jun 8, 2019

A lot has been said about the grotesqueness of the gendered violence that ensues and trigger warnings have even been called for after performances in the UK.

Cyprus Avenue, Royal Court Theatre review - Stephen Rea is utterly compelling David Ireland's dark, absurdist comedy about identity. Director: Anna Houston “I’ll raise her to not be prejudiced.” In the face of this nothingness, Cyprus Avenue tracks the descent of Eric into chaos and internal destruction as he tries to overshadow the present with the past, barracking against what he feels is the denial and brushing aside of history. tracks the consequences of a world where the politics of hate and scarcity are taken to their chaotic and devastating hilt. Eric looks a bewildered old codger slumped on a couch. Ester Karuso-Thurn’s all-white set is eerie in its sparseness, and adds to the sense that not all will be well, despite Eric’s relatively unassuming figure in front of us. Cyprus Avenue review: A violent trip into a sectarian mind. People will have justifications for every horror they commit, but as a society, we will always have to weigh up compassion and punishment, in our strategies for prevention. Share. Christine does a stellar job of enacting the everyday struggles of deflecting racial microaggressions, smiling politely and soullessly as Eric insists that he “loves Africans” and he admires their “resilience” in the face of their tragic inability to govern themselves. “I’ll raise her to not be prejudiced.” In the face of this nothingness. David Ireland’s Cyprus Avenue is a confronting, if slightly exploitative, play about a sad old man trapped in the traumatic days of The Troubles. Are you a demon?” he asks her. David Ireland's Cyprus Avenue is a multi-award-winning play and production starring Stephen Rea and directed by Vicky Featherstone.

Africans” and he admires their “resilience” in the face of their tragic inability to govern themselves.

His violence is apparent early, yet when he reveals its full force it is truly shocking. The show’s controversial situations make it an imperative that we find ways to process, not only the violence that happens in Eric’s fictitious world, but also the equally heinous hate crimes, of all descriptions, in real life. Eric has been driven mad by circumstance, and as a result, he perpetuates grievous harm, in a circle of violence that tempts us to keep shifting blame from one to another. Joyce Morgan is a theatre critic for The Sydney Morning Herald.

Sometimes Barker’s delivery as Eric doesn’t hit the intended high notes of apoplectic rage, but he is mostly convincing in his darkly funny portrayal of a man whose single-mindedness gives way to forces more sinister. The Old Fitz is a tiny venue, siphoning the audience’s attention onto the stage. “Are you an angel? In his most demanding scene, Eric reveals how on a trip to London he is mistaken for what he's spent his life fighting against. by Veronica Lee Wednesday, 20 February 2019. As he faces the prospect of his daughter raising her child to be “nothing,” not Protestant or Catholic, not Unionist or Republican, he unravels. Until he opens his mouth. Look out for your first newsletter in your inbox soon! This is a nuanced, well-timed and acted production directed by Anna Houston - a blacker than black play performed on an all-white set (Ester Karuso-Thurn). She is young and black, and to him, represents the world in chaos. Her father's viscous verbal retaliation is foul. “We must protect what we have”. “Cyprus Avenue” runs through Sunday July 29, 2018 at The Public’s LuEsther Hall (425 Lafayette Street) on the following performance schedule: Tuesday through Saturday at 8:00 p.m. and Saturday and Sunday at 2:00 p.m. Faithful unionist Eric Miller (Roy Barker) can’t for the life of him work out how his granddaughter could bear such a striking resemblance to the man who represents the antithesis of his worldview: Irish republican politician and international celebrity Gerry Adams. “Are you an angel?

He is deplorable, but also charming; tender yet full of evil. The Ulster Protestant is so blinded by hatred he sees his bigoted world view reflected everywhere. zeroes in on the hyper-localised political tensions of Northern Ireland in the late 20th century, it also lays open the world like a mirror. Theatre review Roy Barker is riveting as Eric, bringing a bizarre logic and poignancy to an utterly loathsome character. By Joyce Morgan. What we do with that information thereafter, is anybody’s guess.
It is hard to watch and prompted audience gasps on opening night. A co-production of Dublin's Abbey Theatre and London's Royal Court, Cyprus Avenue is the sort of subversive piece designed to be both horrifying and funny. We're working hard to be accurate. In a world where identity still splinters cities and ordinary people are caught in the crosshairs of prejudice and populism, his words seem more frightening than ever. Updated May 19, 2019 — 11.49pm first published at 11.45pm. It’s a Sarah Kane level of on-stage abject gruesomeness, but it’s there for a reason. Eric tries to convince himself of his own sanity so much that any attention on his imminent descent into delusion is violently silenced. Amanda McGregor plays the dutiful daughter with poise and strength. Christine does a stellar job of enacting the everyday struggles of deflecting racial microaggressions, smiling politely and soullessly as Eric insists that he “. tracks the descent of Eric into chaos and internal destruction as he tries to overshadow the present with the past, barracking against what he feels is the denial and brushing aside of history. Difficult concepts are left undiluted, so that the audience cannot help but examine its challenging provocations. Roy Barker and Lloyd Allison-Young on the set of 'Cedar Avenue'.

He’s looking over his shoulder at the past, but everyone else is ready to move on. It’s this that stops an otherwise clever, complex and disconcerting play from being truly great. Allison-Young commits to his character with such precision and grandeur, you feel as if a young paramilitary really has walked on stage to interrupt Barker’s musings. Cast: Lloyd Allison-Young, Roy Barker, Branden Christine, Jude Gibson, Amanda McGregor Even on the face of his five-week-old granddaughter. David Ireland’s Cyprus Avenue is a confronting, if slightly exploitative, play about a sad old man trapped in the traumatic days of The Troubles. https://www.redlineproductions.com.au/cyprus-avenue. Déjà vu! Thanks for subscribing! Try another?

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