We walk out of this dark comic thriller with the line; ‘the public will always be interested in those who betray;’ which speaks truth of why this tale could be of audience interest. As the 25th anniversary of the Good Friday agreement approaches this is a timely tale. Under the Black Rock relevantly prompts us toward Northern Ireland’s stormy history and tells us a story about the people who deceived it. Ultimately this is a dedication to the troubles and Playwright Tim Edge’s grasp of affection toward the people in the six counties who suffered from it.
Set in Belfast, we are feistily led through the story of a family at the height of the ethno nationalist conflict with numerous curves and twists throughout. Niamh Ryan, a woman whose family has IRA affiliations, is sapped into the disputes due to her brother, Allan, who is a part of a community where deception and brutality are normal. We are then led through the devastating impacts on her family and ultimately herself. The play poses questions about family loyalty, morality and how extremism can become so rife and riddled in one family tie.
Starring Evanna Lynch, best known for her role as Luna Lovegood in the Harry Potter films; showing a gentle naturalism that felt as if you were watching a real crime TV series. Her mother, Bridget, played by Flora Montgomery’s complex character was important in adding psychological depth and showed the intricacies of a mother’s short falling’s, and the ultimate despair this devastating situation led her to. Another bouncy addition was Mary O’Brien; an older woman played by Elizabeth Counsell; Who added in some humour and vitality; I wish we’d seen more of this.
Bluebird Productions was set up in 2022 to showcase new writing and develop young directors, producers and creatives. Director Ben Kavanagh creates an exciting latter half of the play with themes of brutality and violence as we watch the fate of Brandon; Niamh’s dad and Allan, played by Jordan walker. A particularly impressive and visceral scene where Jimmy Lynch, played by Matthew Blaney, gets his finger cut off, we wince with him in cathartic pain. However, due to the hefty subject matter we needed more narrative depth to get us totally consumed and immersed. A lack of this made for a dry first half; with too little historical context the narrative became dull and meant the power of the second half never quite hit the mark.
Visually stimulating to the eye; Ceci Calf’s set design lodged a giant black rock above centre stage that comes to light when the plot gets eerily more dark and sinister, and along with Joseph Ed Thomas’s lighting effects throughout makes for an exhilarating watch on the technical front.
Filled with deception, rage, betrayal and the effect extremist politics can have on family bonds but a flat narrative and underdeveloped context leaves this play a bit lower on the scale that I had hoped. Nonetheless, an enjoyable watch with an incredibly important theme.
Under The Black Rock is at Arcola Theatre until 25th March
