Ross O’Carroll Kelly hits middle age a in Breaking Dad
Another fine farce from Paul Howard
Agreat cloud of smoke arises from the stage and from it emerges, like a latter-day-messiah, Ross O’Carroll Kelly, now 42, involved in some dubious shredding operation, splendidly unaware of a world outside his own, and still sure of his ability to pull young babes.
The complication this time round is the emergence of a possible unacknowledged son of his who threatens his wife Sorcha’s plans for everything from world peace to the presidency.
Ross is shocked, but presented with times and dates, is wise enough to declare that ‘mathematics is not an exact science’.
The plot solution seems rushed and a bit dubious, but there’s plenty to enjoy in this robust, comic rollercoaster, even if having it set it in the future may imply that the series is temporarily running out of steam.
Writer Paul Howard is on home ground and on top form again after his mixed venture into the politics of Anglo The Musical. The script is littered with quotable one-liners and Rory Nolan is so completely Ross that it’s impossible to imagine anyone else playing him.
This latest saga in the life of Ireland’s greatest uncapped outhalf is set in 2022, for no obvious reason other than to explain how his teenage daughter Honor (Caoimhe O’Malley) is old enough to be dragging home the captain of the Blackrock senior rugby team (Gavin Drea), a duplicate of Ross.
Honor, student of Mandarin, is also one of those Wesley dance nymphets, complete with telescopic heels and skirt up to her navel.
There’s nothing particularly futuristic about the scenario, except for the re-emergence of Bertie Ahern, rescued from lowly jobs and reinstated as leader of a revived Fianna Fáil, leading the new Celtic Phoenix.
The illegal antics of Ross’s son Ronan have matured. A star performer for Celtic, he has been acquitted in court of corruption charges for throwing matches thanks to ‘a very expensive jury’. Laurence Kinlan, with his brilliant comic timing, again steals every scene that gives him half a chance.
Sorcha, who ‘wept at Mary Robinson’s mná na hÉireann speech’, is now a hyper-idealistic international human rights lawyer, with one eye on worldwide injustice and another on Áras an Uachtaráin.
Missing in the new show is Ross’s mother, formerly played by the late, irreplaceable, SusanFitzGerald.
It’s a pity, because the character, with her deliciously refined snobbery, gave the he chaotic family an ideal balance. But the wonderful Lisa Lambe, as Sorcha, with her ability to switch from chic sophisticate to supercharged virago is a constant joy.
Pat McGrath’s Small Plastic Wars (New Theatre until May 3, then touring) is a little gem of a one-man show, witty, brilliantly observed and full of delightful touches. It’s the story of Joe, obsessive collector and builder of plastic models, down to the finest details, especially models of military tanks.
At the club where everyone displays their models, there will always be somebody to spot the one little flaw in your creation. Especially, Hermann, a Corkman whose name is actually
Bria Brian, who is such a tank modelling fanatic fan that he dresses as a member of the Waffen SS.
Joe has hit rough times with unemployment, but he still manages to get some work teaching cooking.
He’s a loyal family man but there’s an unfortunate tendency for family duties to clash with modelling exhibitions. His attempt to balance work and hobby on the day of the year’s big competition is a particular highlight, but everything in this little masterpiece is memorable.
McGrath, a physical cross between Burl Ives and Shakespeare’s Falstaff, is a storytelling genius with a light touch. It’s part of this year’s Bealtaine festival. Don’t miss it.
Touring to 11 towns until May 28. Details from the website bealtaine.com.