Druid Theatre’s hotly anticipated stay-at-home show weaved Eavan Boland’s exquisitely crafted poetry in with her autobiographical prose to create elegantly executed literary blend. With renowned director Garry Hynes and literary giant Colm Tóibín directing and editing the show respectively, the production was a resounding triumph.
A pre-show introduction from outside the theatre reminded the audience to turn off their phones and check their nearest fire exits – this small detail felt deliciously familiar in these peculiar times. The high-quality camera then led the audience into the show. Set in a minimalistic artistic studio, the piece didn’t offer much visually. With Boland’s writing as the focus, though, this was largely unimportant.
Words were treated with great reverence as every line delivered felt relevant. Given that acclaimed author Colm Tóibín edited the play, this was no surprise. Tóibín ingeniously fashioned extracts from Boland’s prose books Object Lessons and Journey with Two Maps alongside her poetry, creating a literary map through her life experiences. In the programme, Tóibín noted that he “followed the line of her journey, as her life changed, as her sense of her vocation changed, as her writing changed”.
Boland was played by the radiant Siobhán Cullen who sat centre stage, gazing earnestly into the camera. The text of the performance was taken directly from Boland’s writing, and her voice shone throughout. Cullen’s task was not easy – her voice and face were the focus of an hour-long performance. However, this task did not phase her as she unwaveringly delivered the lines, maintaining a sense of vigor and respect. Boland’s prose and poetry were differentiated as Cullen lifted a book when reading the poetry, though this repeated act became laborious as the performance progressed.
While Cullen spoke to the audience, portrait artist Debbie Chapman painted on an easel facing away from the camera. This was an excellent addition to the otherwise bare stage and added a multidisciplinary flair to the overall aesthetic of the piece.
In the concluding seconds the camera zoomed in on the finished painting to show a portrait of Boland. The mixture of prose, poetry, and live art was made even more magical by the music that underpinned Cullen’s voice. The soft, classical undertones composed by Conor Linehan matched the energy of the performance perfectly.
The show’s relatively short duration furthered its success. While it was easy to become absorbed by Cullen’s passionate delivery and emotive face, the exceedingly limited action happening on stage risked becoming a tad monotonous for audience members. By keeping the performance short, Hynes prevented the show from feeling stale.
The piece gracefully channeled Boland’s immense spirit. Her words explored issues of motherhood, sexism and nationality as she authentically discussed navigating life as a woman. As Tóibín noted in the programme, “as a poet, she set about interrogating what was private, making clear that any image in a poem reflects not only the self but the wider world.”
In conclusion, the show was a tastefully constructed homage to an incredibly inspiring literary figure. Boland: Journey of a Poet is an outstanding example of stay-at-home theatre succeeding. While the live-streamed performances are over, it will be available to view on demand until May 2nd – I thoroughly recommend it!
Tickets for the on-demand viewings of Boland: Journey of a Poet can be bought through the Druid Theatre website.
