Arts
Daughter of the House
BY Sheila Hanlon April 21, 2008 12:04
Featuring Adrianna Prosser and Jason Winther. Written by Lucy Brennan. Directed by Jane Carnwath. Presented by Alumnae Theatre Company. Thu-Sat 8pm; Sun 2pm. $10-$19. Alumnae Theatre, 70 Berkeley. 416-364-4170. www.alumnaetheatre.com.
With its Bodhrán-heavy soundtrack and ruddy-haired protagonist, Daughter of the House
is not exactly subtle about its Hibernian origins. But, rather than
rehashing folk memories of the flight from famine, playwright Lucy
Brennan, an Irish emigrant herself, addresses a rather more modern
post-war diaspora.
Set in 1950s Dublin, the play follows stubborn bank clerk Eileen, who has to decide between following her beau to a new life in Canada or remaining at home as caregiver to her aging mother — a burden that has fallen upon her as the lone daughter in a bullishly traditional (yet surprisingly supportive) family. Will Eileen get to live her life as she sees fit or will family obligations trump her need for independence?
Despite this semi-compelling backstory, Brennan’s script consistently squanders any potential for drama. A cast of characters with irksomely accents melts into a mush of drab dialogue and maudlin sentiment. As the lead, Adrianna Prosser does little more than keep pace. Nonnie Griffin, in contrast, is excellent as the materfamilias, Máire, while Derek Perks delivers a witty performance as Eileen’s brother Dermot — he’s the show’s saving grace.
Marysia Bucholc’s set is striking in its stolid utility. Simple furnishings transition from sitting room to pub without stretching the imagination too far. A second stage, engineered as an inset, works quite effectively, and the scenes played out there stood out amongst a mostly lackluster production.
The script get some laughs, but, in the end, the lack of ardour between the lovers leaves one ambivalent bout the grand twist of fate awaiting them. At a run time of over two hours, you can’t help but wish Eileen would just DTMF and get on with it. In the end, though, Eileen doesn’t really go anywhere — and unfortunately, neither does this production.
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