Adelphi '63

Laura Brady and Jessica Dunne Perkins in Adelphi '63. Image, Jilly McGrath ***** When it comes to generational tales, one person's nostalgia is another person’s history. History marinated in lashings of nostalgia flavouring Laura Brady's heartfelt Adelphi ’63. A tale of two cousins and the only ever Irish gig the Beatles played at the Adelphi Cinema in Abbey Street in 1963. Adelphi ’63 serving up a love letter to friendship and the Fab Four, as well as to a Dublin of a rare, auld, more innocent time. As with the 1978 movie I Wanna Hold Your Hand, action takes place during the hysteria surrounding a significant Beatles performance in which characters win tickets on a radio show. The blessed Mary Connor’s fervently bargaining, bribing or battering God into procuring tickets for the hottest gig in town. The effervescent seventeen year old aiming to reignite the joy in the adulting Bridget, formerly her life loving cousin Bridie. But Bridget has a job, a relationship, a secret and a plan. And if that could destroy their friendship forever, so be it. Truth finally emerging when, lo and behold, Mary’s prayers are answered. Laura Brady and Jessica Dunne Perkins in Adelphi '63. Image, Jilly McGrath If stories instruct and delight, Adelphi ’63 opts to go low on instruction and load up with delight. Brady’s tale of two young women in Ireland in the 1960’s less Edna O’Brien and more Maeve Binchy. A brilliant Emma Finegan directing Brady’s two handed character studies with deft assurance. Anika Kidd’s minimalist set, Mae Leahy’s period costumes and Suzie Cummins’ clouded light evoking the sepia toned retro vibe of your Granny's inner city kitchen. Lara Gallagher’s sound design rooting time within a specific history, one surprisingly light on Beatles tracks. Brady’s script referencing enough history to remind you that women in the 60s lived under very different conditions in terms of employment, family, pregnancy and opportunity. That God might answer an innocent girl’s prayers, but Catholicism could condemn you to hell. Perhaps all we really have is each other. Like Paddy Crosbie’s Your Dinner’s Poured Out, Adelphi ’63 is stepped in poetic Dublinese, a street language rapidly disappearing, you know that kinda way. Structurally, Brady has it down, shifting effortless from monologues to dialogue with details looping back on themselves in an integrated whole. Brady’s fun loving Mary a sheer delight. Jessica Dunne Perkins' deeply troubled Bridget a perfect foil. Brady and Dunne Perkins delivering pitch perfect performances under Finegan’s superlative direction. Crackling with a contagious chemistry impossible to resist. No, Adelphi ’63 is not perfect. No, it’s not high art. Rather, Adelphi 63’ sets out to entertain. To unapologetically tell its old-fashioned tale in an old-fashioned way, appealing to young and old alike. Under the terms it sets out for itself, Adelphi '63 is a thriving success. Brady, Dunne Perkins and Finegan a tidal wave of talent. Adelphi ’63 a smart, funny feel good, crowd pleaser brimming with joyous, infectious energy. Not to be missed. Adelphi ’63, written by Laura Brady, presented by Dublin Municipal Theatre and Muirenn Lyons, runs at Smock Alley Theatre until May 3rd. For more information visit Smock Alley Theatre