When the Irish language's best-known gay writer takes the last temptation of John the Baptist as a theme for his new play, comparisons with Oscar Wilde are inevitable. But Cathal ╙ Searcaigh's latest work also stands comparison with Pβdraic ╙ Conaire's short story Teatrarc Na Gailil∅, whose exotic setting was unfairly pilloried by those who believed Gaelic literature should deal with the locale in which the language is spoken. This story of passion, lust and vengeance closes the door on that argument.
O∅che Gheala∅ is no simple rebranding of Wilde's or ╙ Conaire's works, however, but a bravely innovative take on a timeless story. There are clear parallels with the current international crisis, in which the head of the best-known Saudi dissident is demanded on a platter. This is further underlined by a veil-enveloped chorus, while the threat of the jackboot hovers menacingly throughout.
The charged atmosphere is leavened by the mischievous exuberance of two sexually ambivalent court jesters (beautifully played by Pβdraic ╙ Tuairisc and P≤l Mac Peanr≤is), whose impudent play on Irish grammatical terms would have Dineen spinning in his grave.
For all its technical splendour, there is subtlety in Pβdraic Breathnach's direction, and the body language of the protagonists speaks of unrequited passions and baulked desire. Gabrielle Breathnach is a credible predatory temptress, while Audrey N∅ Fhearghail and Donncha Crowley are superb in the roles of Celestine and Herod.
But this lavish production has its irritations. The intensely lyrical style demands crisp delivery; unfortunately, much of the pronunciation jarred. There were times when you'd have to consult the English-language synopsis to follow the flow of the action. But the virtues of the production outweigh its defects.
