ON THE TOWN: Catherine Foley samples the action at the opening of the Vagina Monologues at the SFX, the Hunters of the North at the National Museum of Decorative Arts and History and The Rat Pack at the Olympia.
If U2 manager Paul McGuinness was early to leave the after-show reception for the Vagina Monologues at the SFX, it had nothing to do with its content. "I think it's very well done," he said. "Performer Dillie Keane is a very old friend of mine and this production was certainly very good. The subject matter is in the title so anyone who turns up and is offended is naïve."
The director, Michael Scott, emphasised the universal appeal of Eve Einsler's play. "I don't think they're just feminist issues," he said in the semi-darkness of the theatre.
"They're issues about women, men, love and about respecting who you are. There are also issues about cancer and violence against women, which our society is not dealing with coherently. I think the theatre can meaningfully begin a dialogue," he concluded, even if it does so in monologue form.
Actress Adele King, while receiving congratulations from all and sundry, described the performance as "a bit brain-damaging", explaining that, because the play is composed of genuine letters and case histories, "learning them off pat makes it a bit actressy".
More affronting, however, are people who label her The Artist Formerly Known as Twink. "People pigeonhole you," she claims, recalling several productions of "very good theatre" in which she has previously performed.
In an even darker corner of the theatre, current performer Cathy Tyson and journalist Nell McCafferty (who will assume one of the roles later in the run) candidly discussed taboos.
"I saw some faces that were uncomfortable," said Tyson. "I've seen the show in London and I think that we've been encouraged to have our orgasms for a long time. But having an orgasm is one thing and actually thinking about your vagina is another stage."
McCafferty interjects, "I'm nervous about you talking about sex to the media."
The media is not so comfortable itself. McCafferty does offer a thematic insight into reappropriating sexist slurs.
"To be current about it, the worst thing Roy Keane can say about any man is that he's a c**t. I think it's a lovely word but it has to be reclaimed."
Three friends, Bernie McCabe (a physiotherapist), Mary Flaherty (a social worker) and Anne Prendiville (who works in community development) spoke about how affecting the night was.
"We came as a group," said McCabe, "and we were drawn through a huge range of emotions, every one of us, crying and laughing in the same few seconds."
But for all the taboo breaking, it appears there are still some adlibs that can cause an upset. Adele King rolled her eyes. "Dillie Keane, will I ever forgive her for throwing 'gee' at me."
All in honour of the great John B.
It was a night to "honour the occasion, the family and the man". Those were the words of the Minister for Arts, John O'Donoghue, last Tuesday night, when he made a special presentation to Mary Keane, widow of the playwright and author, John B. Keane, in Galway.
The "occasion" was the opening night of the Keane classic, Sive, in the Town Hall Theatre.
The Druid Lane production starring Anna Manahan, Eamon Morrissey and Derbhle Crotty (see Irish Times Magazine) received rapturous applause, and the enthusiasm and sheer emotion of the event flowed over into the vestibule.
"One of the great joys of Irish theatre," the Minister said, when he paid tribute to the professionalism of all those involved. He noted with relief that the cast included a Kerryman - Frank O'Sullivan, one of the Minister's old "school pals", who played the part of Pats Bocock.
In fact, the Minister was surrounded by county colleagues, and John B. would have spotted the irony of so many Kerry people gathered in a neighbouring fiefdom.
Among them were three members of the cast of the first production of Sive in Listowel in 1959 - Margaret Dillon Ward, Johnny Cahill and Nora Relihan.
Also present for the opening night were Ron Stoneman of the Irish Film Board, Bob Collins, director-general of RTÉ, Galway's mayor, Councillor Val Hanley, former justice minister Séan Doherty and Fianna Fáil senator Margaret Cox.
O'Donoghue presented a portrait of the late John B. by Galway-based artist Philip Lindey, to Mrs Keane, who was accompanied by her sons, John and Billy.
Garry Hynes, director of the production, expressed her delight at the Keane family's attendance, and said that she felt very privileged that they should be there.
Billy Keane, who has his father's wit, thanked the Minister, Druid Lane and the Mayor and people of Galway for their hospitality. "Awesome" was how he described the play, which he must have seen so many times. "It took my breath away."
Sive continues at the Town Hall Theatre, Galway and then travels to Cork, Ennis and the Olympia in Dublin.
Lorna Siggins
Night of the Hunters
The assembly seemed to feel a storm brewing at the launch of Hunters of the North, an exhibition of West Nordic art, video and artefacts in the National Museum of Decorative Arts and History.
"I will say that we have gone all the way," said the exhibition designer, Edward Fuglø, from the Faroe Islands, "even though it can be difficult, because national museums are a bit concerned about sending these pictures abroad."
Explaining the representation, mythology and energy of the art works, Fuglø admitted to lingering doubts. "I could work a little bit more with light but it's nothing too serious. It's difficult when you work as a designer you have to kill your darlings."
It's killing of a whole different kind that the exhibition's architect Róisín Hyde found most provocative.
"I think it's good to make people face where their food comes from and to think about it. The content is quite brutally emotive. It's provocative and I hope there will be intelligent conversation about it."
Following the opening address, Professor Séamas O'Catháin also anticipated some unrest. "However excellent the environmentalists are," he said, "there are some things they don't understand about the balance that ordinary people understand so well, between nature and survival."
The colour and light of the artworks surprised Breda Whyte, a batik artist. "I didn't expect the paintings to have such a glow. There's a slight Mediterranean tinge, and I expected it to have more doom and gloom. There's a wonderful sense of humour as well."
Meanwhile Olwen Kelly found the exhibition somewhat exhausting. In fairness, however, she is only five. "And a half," she chastened.
Caught in the Rat Pack trap
Frank Sinatra ordered a drink after the conclusion of The Rat Pack in the casino of the Sands Hotel, Las Vegas - so a blackjack and roulette session after the opening night of The Rat Pack in the Olympia Theatre, Dublin, seemed fitting.
This extends to the plastic chips quickly lost on spinning wheels and dud hands, or more embarrassingly, on the "find the lady" card trick. "It's just sleight of hand," reveals the croupier James Thompson, "The man who invented money was clever," he says scooping up my €3,000 disc, "the man who invented chips was a genius."
Sinatra's eyes don't appear so vividly blue in the face of actor Stephen Triffitt, who's been playing the boss for several years. "You've got to be very cool," he advises, "not fazed by anything and you have to have presence."
His formula has worked according to Ciara McEvoy, a media and communication student in Co Meath. Brenda Dooley, a consultant in human resources and her father, Tom Dooley, agreed.
But do the actors playing Sammy Davis Jr or the much-harassed scantily-clad dancers, the Borelli sisters, object to the show's anachronistic race and gender politics?
"You should see what we cut," says George Daniel Long . "But if you do a show in a particular period, you have to be faithful to that period. If you take all those lines away, then you deny what Sammy went through."