Tuam is experiencing somewhat of an artistic boom at present.
Firstly, Three Rings have adopted Geoff Gould's Fit-Up Theatre Festival model, bringing some terrific one-man and one-woman shows to remote parts of north County Galway each autumn. Last month, internationally renowned American comedian Rich Hall played to a packed house in The Mall Theatre, Tuam as part of Galway Comedy Festival. Then there's Ranch House Productions, run by Andrew Carney, which describes itself as a 'theatre initiative' focused on new, fresh and original writing.
Prodigal feels like a deeply personal piece, and the writing is genuinely beautiful in parts, but it covers very well-trodden ground, encompassing what have become two clichés of modern Irish Theatre: the pub, and the funeral.
The story sees Andy (Andrew Carney ) reunite with his estranged father Benny (Tom Carney ) after the death of his brother. The pair have not spoken in two years, but we know from the outset that this conversation will be the one that inevitably heals old wounds, and brings them back together. Sadness is ever-present, not only because Andy's brother committed suicide, but also due to the fact that his mother died shortly after abandoning the family many years ago.
The play starts really well, with Carney's imposing dialogue coming to the fore. I was leaning forward in my seat, elbows on knees, genuinely drawn in by the over and back. Tom's articulation in particular is engrossing. The writing verges on poetry at times, demonstrating Carney's strong command of the English language, as well as a clear gift for syntax.
Where the play falters, though, is in its repetitiveness; a lack of structure and a tendency to keep revisiting the same trauma proves to be problematic for both actors. Their strengths lie in straightforward conversation, where they enounce the precisely structured lines elegantly. Yet, they fail to deliver the more emotional parts of the play, and you can feel it in the room; an unfortunate reminder of how unforgiving theatre can be when it does not work.
To focus on the positives: Andy's story about his only experience of love - a relationship he allowed to rot from the inside-out due to his immaturity - undoubtedly struck a chord with many in attendance. It struck a chord with me.
Likewise, Benny's tale of meeting his wife for the first time is quite moving. The frequent admissions of how he would love to be back on the drink provide some comic relief. His eloquence in describing his passionate love of alcohol rivals the infamous clip of John B Keane describing his “love of liquor” on YouTube. I was gasping for a pint just listening to him.
In Andrew Carney, we have a voice that needs nurturing. It is easy to criticise from a distance, but it is also important to remember that he likely produced this play using little more than his own blood, sweat and tears. I would venture a guess that Prodigal did not receive a cent of Arts Council funding, and never went through any sort of structured development/workshop process. Most professional productions nowadays receive an abundance of both.
The important thing is that Carney clearly has a way with words; there is a tenderness at the heart of his writing. Had the services of an experienced dramaturg been enlisted, problems might easily have been eradicated. And of course, it is never too late to make changes. One cannot help but feel that Prodigal has the potential to become a really tight, poignant piece, appropriate for intimate venues up and down the country.
Bear in mind, the two star rating here is purely due to the fact that Prodigal is being compared with big-budget, professional productions which often grace the stage at The Town Hall Theatre. If seen as amateur drama, this play would more than hold its own. But perhaps Ranch House Productions should measure themselves against the best, as there is no reason that they cannot become the next Druid, Decadent or Brú.
