IN THE evidence of this first work for the theatre, Philip Davison clearly knows a great deal about the means off verbal and visual communication. He can write both narrative and dialogue and can conjure images.
But in this impressionistic piece about a Dublin in decline, he has not managed more than an inchoate stab at coherent drama, seemingly concerned more with the means than with the content of his expression.
It's about Gabriel, a roofing contractor who is experiencing domestic family upheavals at the same time as his business is declining and is threatened by the intrusion of thuggishly organised crime.
But the author keeps his text almost wilfully and lazily enigmatic: where there is need for the daughter of his wife's half sister (recently rediscovered in Manchester by his wife Cissy and her sister Bridget) to be present, said niece is conveniently invisible on stage and the whole extended family, much spoken of, never materialises.
Where there is to be a confrontation between the thugs and the workers, it takes place surrealistically with a ludicrously unlikely Chinese take away picnic between the big thug (Mr Ed) and his entire family atop the roof that Gabriel is working to finish.
There is little in terms of characterisation, interaction or engagement for a live theatre audience to get hold of, no one really to care about and few significant events that take place anywhere except off stage, recounted most often in monologue or enacted without the visible presence of the character central to the event.
In place of immediately involving drama, we get an expensively elaborate setting, very effectively designed by Paul McCauley and fussily lit by Chris Ellis, with explosive and other special effects and a proficient (but frequently enigmatic) sound track from David Nolan.
Ben Barnes's direction is detailed and highly professional, but it reveals no live dramatic heart in the play, and the performances, from proficient and highly professional actors, are largely subservient to the presentation. Maybe it might all go better on television?
