April 16, 2015 @ 8:30 pm – 10:45 pm
An Taibhdhearc
Middle Street
€15 Cons €18
091 562024

In Only Our Own, Ann Henning Jocelyn sets out to show the change that has taken place in Ireland as mirrored in an Anglo-Irish family over four generations.
It shows them at various stages from 1922 to the present day from the night in when an eleven-year-old Eliza was roused from sleep by rebels who drove them from their home and burned it down, a night when her puppy was beaten to death and her brother murdered.
Director Lars Harald Gathe opens the play with a tableau in the half-light before the scene is fully lit that silhouettes the cast standing to say grace before a meal. Encapsulating the sectarian background to the play in a single image against the woodcut-like view of Connemara lakes and mountains that dominates Christopher Faulds’s setting, it is a wordless moment in contrast to the word-conscious dialogue which follows.
That dialogue is written in a form of free verse which shapes the punctuation of its playing, especially for Elaine Montgomerie’s now elderly but elegantly didactic Lady Eliza, though the actors handle it as natural speech.
Eliza’s daughter Meg has her own story of loss that heightens the pathos of her efforts to hold on to old family values, but time brings reassessment. Her husband quotes her father “Whatever is done to us—they’ll never break our spirit,” but, “only our own can do that” is her reply. Maev Alexander as Meg and Cornelius Garrett as her husband Andrew make them a very loving couple, trapped in their social situation. Garrett is especially good as the aging man bowed by grief and disappointment but still fighting.