TUES­DAY 02.05.17

The Irish Times - Friday - The Ticket - - SEVEN DAYS -

THE­ATRE Have I No Mouth Every­man The­atre, Cork. May 2-3 8pm ¤20/¤18 (Stu­dents ¤9) ev­ery­man­cork.com “I don’t see the point of talk­ing about all the de­press­ing, hor­ri­ble shit,” Fei­dlim Can­non objects early on in Bro­kentalk­ers’ im­mensely af­fect­ing work, first staged in 2012. Yet, here he is, an at­trac­tively wry per­former, re­vis­it­ing old wounds with his mother and their psy­chother­a­pist on­stage. Have I No Mouth de­tails the death of Can­non’s young brother, just hours af­ter his birth, and that of his fa­ther, which might have been pre­vented. But the meth­ods used to dis­cuss this, from a clut­ter of plas­tic props to ther­a­peu­tic role-play and the giddy de­vices of con­tem­po­rary the­atre, sup­ply an ut­terly com­pelling fric­tion, a kind of re­sis­tance to the emo­tional wattage of the ma­te­rial. Un­der the ther­a­pist’s watch (and with his par­tic­i­pa­tion), Fei­dlim and his mother Ann play out their fraught re­la­tion­ship in ex­changes touch­ing, funny and sad. Both ther­apy and the the­atre al­low them to re­visit events, some bal­anced so pre­car­i­ously be­tween com­edy and trauma they cre­ate an emo­tional short cir­cuit. You may find your­self chok­ing up, as I did, when a fa­tal mis­di­ag­no­sis is il­lus­trated with a game of Op­er­a­tion. Its in­ten­tion is any­thing but glib. It is one of the most con­cen­trated, an­gry and dis­creetly po­lit­i­cal shows from this bril­liant com­pany, which still be­lieves in the ca­pac­ity to heal. Peter Craw­ley CLAS­SI­CAL An­drew Zolin­sky NCH Kevin Barry Recital Room, Dublin 7.30pm ¤15 nch.ie Bri­tish pi­anist An­drew Zolin­sky is giv­ing two recitals at the Na­tional Con­cert Hall to com­mem­o­rate the cen­te­nary of the Rus­sian Revo­lu­tion. Tonight’s pro­gramme, billed as To­wards the Revo­lu­tion, fea­tures works by Scri­abin, Rach­mani­nov, Prokofiev and, im­prob­a­bly, Ustvol­skaya (for­get about the date of her Third Sonata, she was not born un­til June 1919). On Tues­day 9th, Af­ter the Revo­lu­tion will again fea­ture Prokofiev, this time in the com­pany of Shostakovich, Medt­ner, Rach­mani­nov, Pärt and Knaifel. MD ART Ter­rain Cus­tom House Stu­dios Gallery, Westport. Co Mayo Un­til May 14 cus­tom­hous­es­tu­dios.ie Gabrielle Bishop stud­ied his­tory and the tech­niques of stained glass in Eng­land and Spain. When she moved to Westport, she com­pleted a fine art de­gree at GMIT and turned to paint­ing. Not sur­pris­ingly, per­haps, light and lu­mi­nos­ity play a vi­tal role in her work. She has be­come an in­creas­ingly sub­tle colourist and the ground, the can­vas, has be­come an al­most translu­cent skin en­velop­ing what would have been the en­tire work. “I makes light ves­sels, car­ri­ers of data, open to sub­tle in­ten­tion.” She is aim­ing to tran­scend the tra­di­tional struc­ture of the framed im­age and ad­mit ex­ter­nal el­e­ments, cre­at­ing a new in­ter­me­di­ate bound­ary area be­tween in­ner and outer worlds. The re­sul­tant works em­body a quest­ing, del­i­cate, ethe­real pres­ence. AD JAZZ Mar­jorie Barnes/Paul McIn­tyre Trio Arthurs, Thomas St, Dublin, 8.30pm, ¤12, arthur­spub.ie In a long and var­ied ca­reer, Har­lem-born ac­tor and singer Mar­jorie Barnes (above) has starred in Broad­way mu­si­cals ( Hair, Pal Joey), sung with 1970s “cham­pagne soul” group The Fifth Di­men­sion and shared stages with Frank Si­na­tra and Billy Eck­s­tine. Since the 1980s, on and off, she has been based in Europe, con­cen­trat­ing on jazz, with a timeless style that re­calls Ella FitzGer­ald, Sara Vaughan and Nina Si­mone. Fol­low­ing per­for­mances at the Derry Jazz Fes­ti­val (Satur­day and Sun­day), and the Black Gate, Gal­way (Mon­day), she ar­rives in Dublin to per­form with Derry pi­anist Paul McIn­tyre, play­ing Arthur’s hand­some grand pi­ano, and a front rank lo­cal rhythm sec­tion of bassist Dave Flem­ing and drum­mer Kevin Brady. CL

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