At the vibrant Dublin Theatre Festival, innovative productions captivate audiences, but one piece particularly distinguishes itself: “Safe House,” a collaboration between acclaimed writer-director Enda Walsh and composer Anna Mullarkey. This haunting song cycle, featuring a single live performer, envelopes viewers with a striking blend of film imagery, orchestral music, and intricate sound design, all brought to life by the powerful performance of Kate Gilmore. Walsh, celebrated for his previous works with composer Donnacha Dennehy and the late David Bowie on “Lazarus,” continues to push the boundaries of text and music. He brings together a talented team, including lighting designer Adam Silverman and videographer Jack Phelan.
The production draws influence from torch songs, ethereal folk, and synth-pop, taking audiences deep into the psyche of Grace, a young woman growing up in western Ireland during the late 1980s and early 90s. As projections unfold scenes from a dilapidated handball alley, they reveal her fragmented memories. Katie Davenport’s whimsical design captures recurring motifs of cozy yet isolated spaces, detailing a childhood shadowed by alcoholism, melancholic children’s parties, and the solitude of small-town teen life. Grace’s journey is one of seeking solace—whether reconciling with her tumultuous past or choosing to escape it—all underscored by Mullarkey’s lush electronic scores and vocals.
In contrast, “Guest Host Stranger Ghost,” written by Kate Heffernan for Once Off Productions, adopts a light-hearted yet poignant lens to tackle housing insecurity in Dublin. Set against the backdrop of the festival, Maeve O’Mahony, portraying Deirdre, asks, “Who can afford a set these days?” The narrative centers around three characters living with an elderly woman, teetering on the edge of eviction while grappling with their unstable living situations.
Director Eoghan Carrick captures a tone of discomfort, illustrating the fragile connections among the characters as they navigate the dimly lit stage, relying solely on their devices’ glow. When they invite a fast-food delivery man into their shared space, it disrupts their already tenuous balance, raising questions of belonging and the haunting nature of disappearance, accentuated by John Paul’s missing boyfriend.
Meanwhile, Amy Kidd’s “Breaking” for Fishamble Theatre Company explores the unsettling consequences of a young couple’s hasty decision to move in together. Focused on themes of coercive control and consent, Kidd intricately weaves a narrative that shifts through various character interactions, urging audiences to confront their own assumptions. Under the keen direction of Jim Culleton, the strong performances challenge preconceived notions about emotional manipulation within relationships.
Anu Productions’ “Starjazzer” presents a reimagined short story by Seán O’Casey, whisking audiences away to early 20th-century Dublin. In a Georgian venue, writer-director Louise Lowe and her team craft an evocative experience through two intertwining solo performances. Liv O’Donoghue’s portrayal of a weary mother in 1923 yearning for a passionate life resonates deeply, while her modern-day counterpart adds further complexity to the discussion of female disenfranchisement.
Lastly, “Signal to Noise,” a bold showcase by Forced Entertainment, marks the company’s 40th anniversary and pushes the boundaries of language. In a vibrant display of chaotic creativity, performers engage in a unique lip-sync exercise that explores themes of existence and technology. Their interaction with AI-generated voices sparks an intriguing disconnect, challenging our perceptions of communication in an increasingly digital age.
“Safe House” continues its run at the Abbey Theatre until November 16, while “Guest Host Stranger Ghost” closes on October 13. “Breaking” will perform at the Everyman in Cork on October 9, “Starjazzer” will be at the Royal Society of Antiquaries Ireland until November 2, and “Signal to Noise” will tour until December 7.