A look at Irish books - from comedy and Typhoid Mary to history and more

Wacky Eire
By Geraldine Comiskey

Ireland is the acknowledged home of surrealism and Geraldine Comiskey (a roving reporter for the Sunday World) often has occasion to encounter it at its source. 

Having a journalistic resume that includes getting set on fire by stuntmen, dancing on the wings of a World War II bi-plane (well, who hasn’t?) and joining a circus trapeze troupe, she’s clearly ready for anything.

Ireland in Comiskey’s book is a magical place where all manner of weirdness awaits you down almost very boreen, so in a way her job is an ideal one, scouring the nation in search of fun.

Her book is an eye-popping procession of dodgy faith healers, rural swingers, ghost hunters, GAA players, all of Irish life really. Gifted with a never say die spirit and an uncanny ability to find herself at the center of the wackiest stories, she’s an ideal guide to the books theme and this is one of the moist singular books of its kind you’re ever likely to read about its subject.

Dufour, $22.95.

Fever

Mary Mallon was called a lot of things in her time, but she is known best to history as Typhoid Mary. It was an unfortunate moniker for the poor Irish immigrant woman who had traveled on her own to a new life in America, where she was to discover many new things about herself. Among the most employable discoveries she made was her remarkable talent for cooking.

In Mary Beth Keane’s new novel, Mallon’s life is imaginatively recreated in an act that seems determined to rescue her demonized subject from history. The writer looks behind the headlines to the individual life and the struggles Mallon contended with.

Working as a cook in upper class kitchens, Mallon unwittingly infected multiple people with typhoid, which eventually led to the discovery that there could be such a thing as an “asymptomatic carrier” (a person who carried the disease without becoming infected with it).

In order to contain an outbreak, Mallon was sent by the Department of Health to North Border Island, where she was held in quarantine from 1907 to 1910.

Along the way she became a legend, and this book seeks to rescue her from the headlines by reminding us that she was also a person, not simply a carrier of disease. Keane has crafted a remarkable narrative from a fascinating and ultimately heartbreaking tale.

Scribner, $26.

Lola’s Secret
By Monica McInerney

If you have grown up in a feuding family (and if you’re Irish that more of a certainty than not) the last thing you’d want is for some do-gooder relative to concoct stratagems to bring you and your warring relations to the same table.

But in Lola’s Secret, by bestselling Dublin based author Monica McInerney, the heroine can’t help herself. At 84 she’s still determined to exercise her talent for creating truces among long battling families.

Her latest scheme involves inviting a number of mystery guests to stay at a local hotel – guests who have their reasons not to spend Christmas with their loved ones.

If this sounds contrived, well it is, but it is also effective too. And the woman who breaks her heart to make everything right for other people discovers that she’s not above experiencing a little healing of her own. McInerney’s addresses the occasional stuckness and the obstinance of family dynamics and she reveals just how much can change for better with a little push.

Ballantine, $15.

Smashing H-Block
By F. Stuart Ross

H-Block. Even the name is like a talisman that takes you right back to the darkest days of The Troubles in the North. In F. Stuart Ross’s study he offers a political history of the Irish Republican struggle against criminalization from 1976 to 1982.

These men were not terrorists. They were soldiers defying an occupation, and their struggle eventually culminated in the hunger strikes that were a turning point in the long war.

Ross insists that it was not just the prisoners themselves but also the wider activism of the grassroots movement outside the prisons that reshaped the Republican struggle and revitalized its ambitions.

Ross is a Derry based academic who reminds us that through their political activism ordinary people, the friends and relations of those “inside” had a profound effect on the emerging political consensus that was built during the darkest years of The Troubles and would change the debate thereafter.

University of Chicago Press, $34.95.

Irish playwright Jimmy Kerr's House Strictly Private was a standout of the recent First Irish Theatre Festival

Irish playwright Jimmy Kerr

Two Irish playwrights emerged from the recent 1st Irish Theatre Festival in New York, and it's time to mark their achievements. Playwright Jimmy Kerr is already well known to the Irish community here for his successful run of Ardnaglass on the Air, a knockabout rural comedy which played at the Manhattan Theatre Source in 2010, directed by actress Geraldine Hughes.

But House Strictly Private, a pitch-black comic drama, is an unexpected follow up to Kerr's rollicking festival debut. Tackling the subject of an Irish wake, the play at first unfolds with deceptive simplicity. Kerr introduces us to the McCracken family, who have gathered on the death of their uncle, whose early passing has not been anticipated. Coming together for the first time in years, they must confront the past and what it has made of them.

Kerr is a northern playwright and so he has an engaged sense of just how thorny and intractable the past can be, and how hard it can be to create a shared future when confronted with truths that can seem insurmountable. He certainly doesn't make it easy on his characters, whose lives and choices are revealed in panels that add dimension and layer to this uniquely thoughtful drama.

How am I going to live now? That's the question that hunts each of the blasted survivors of the destructive hurricane that was their uncle's life.

It's a hard question for a play that includes genuinely comic moments, and yet Kerr manages to wield the material with real skill. In particular he's good at offsetting your expectations with revelations that take you in directions you never anticipated.

Betrayal and how to contend with it is at the heart of House Strictly Private. Whether it's betrayal in love, or the way parents can betray their offspring, or the way society can betray its most vulnerable to the wrath of the strong, what engages the playwright is how long injustice can leave a legacy before the courage or the resolve is found to start again.

Although abuse is the theme that ties the generations together here, stepping out from its shadow is the unexpected option that makes this play both timely and indisputably Irish. Even the most broken family can cobble together a future from the glass shards of the past.

Kerr's characters are remarkable in their desire to live and their desire to heal. He also reminds us that nothing is funnier than suffering, and that if you can stand it -- and you should try to stand it -- a day will come when you may think so yourself.

The savagery that is unleashed on his characters when they're least equipped to withstand it finds its match in their determination to move beyond it. I have rarely seen the North's determination to contend with its past and find its future so memorably and movingly portrayed on a stage.

For Love, by debut playwright Laoisa Sexton, is the most impressive first play I have seen in two decades. Featuring a flawless cast that included the writer herself, the play took us on a whirlwind tour of contemporary Dublin seen from a young woman's perspective in a way that was so authentic and casually funny that it disarmed you from the first scene.

Sexton writes with humor and real passion about the actual lives of young women, crafting dispatches from the trenches that tell it like it happens, and you realize as you’re watching it just how unusual that is in the all-too male dominated craft of Irish playwriting.

Sexton's writing is highly crafted, smart but straight from life and it frees her actors up to give arrestingly rich performances, which they do. Jo Kinsella, Georgina McKevitt, John Duddy and the playwright herself are pitch perfect from start to finish, owning the language like they own the play.

McKevitt is particularly funny in her underplayed and subtle characterization of a bored housewife redeemed by shopping. Kinsella is a revelation as a good time girl who suspects the good times are coming to an end, and she finds both the scalding ironies and the unforgettable gags lurking in each scene so expertly that she had the audience applauding her mid speech. Both these actresses bring lived experience to the stage and enrich the show with them.

Sexton conveys a nervy defensiveness and vulnerability on stage that makes her impossible to look away from. Playing a character who has had her heart broken so completely that she holds everyone and everything at a remove, Sexton's female characters are the most interesting and most recognizably Irish I have seen on an Irish stage in years.

The 1st Irish Theatre Festival deserves accolades for bringing these talents to an American stage, and Irish drama has been enriched by their appearance.

Look at books - Irish artists, fiction and history

Prodigals And Geniuses

By Brendan Lynch

The Irish love a good pub within walking reach and Ireland’s most gifted artists and thinkers have been no exception. As Paris has it’s Left Bank and New York has its Upper West Side, for decades Dublin’s bohemian quarter has been centered around Baggot Street and Leeson Street, fringed by the Grand Canal.

Among it’s familiars were four winners of the Nobel Prize for Literature and nearly every major Irish writer of the 19 century, including Oscar Wilde, W.B. Yeats, George Bernard Shaw and even Samuel Beckett.

Along the way Lynch conjures long lost Dublin like a magician. He never forgets how proud the capital city is of its distinguished writers and he never forgets how disdainfully it usually treated them when they actually lived there.

Lynch clearly loves his subjects and this is no more apparent than when he disccuses playwright Brendan Behan. “We’ve a lot to thank the British for,” Behan tells the author one morning in Dublin in 1958. “Did you ever see such handsome houses or squares? As my bardic neighbor John Montague might say, you can feel the rhythm. Look at those railings. And the granite steps dancing in the sun, wouldn’t they make your granny skip?”

Love for the locality and the mad collection of intellectuals, chancers and hangers on that assembled there once, and still assemble there now, animates every page of this deeply affectionate, brilliant and brilliantly gossipy book.

Dufour Editions, $31.95.

Cold Eye Of Heaven

By Christine Dwyer Hickey

In novelist Christine Dwyer Hickey’s new book we meet 75-year-old Dubliner Farley, an old man at the close of his days reflecting over the events that shaped him.

It’s quite a trick to peel away the layers of experience to dig to the root of her subject and reveal what makes him tick, but Dwyer Hickey is equal to it. Along the way she recreates a vanished Dublin, it’s sights and sounds and it’s magical vernacular, in a conjuring trick that will beguile you from the first page. (Christine Dwyer Hickey will read from and sign copies of Cold Eye Of Heaven at The Irish Arts Center at 7:30 PM on Tuesday, September 24).

It’s instructive to watch how regret can grow and take over a life until it’s all that remains of a person, and Dwyer Hickey shows us how loneliness can be the outcome of a poor choice, and one that spreads around a life like fog.

Dwyer Hickey also has the skill to take her time, offering a leisurely portrait of a man in lyrical prose that creates his world and his legacy so vividly you’ll think that all that separates you from him is a page. This is ambitious work, elegantly crafted.

Atlantic Books, $7.99.

Overcoming Violence

By Johnston McMaster

Ireland’s history, even in recent times, has been ferociously violent. Over centuries a cycle of outrage and revenge has characterized the seemingly endless conflict between warring traditions intent on giving no quarter.

What to do in a stalemate that cannot ever be won? And what of Christianity, that promotes peace but has shown itself to be all to quick to add kindling to long simmering resentments? Those questions have exercised minds for centuries.

In Overcoming Violence author McMaster explores the roots of the sectarian violence in Ireland, wresting the message of compassion and love from the destructive theology of the Old Testament.

In particular he laments the Irish myth of redemptive violence, which was all too popular with both sides in the Easter Rising and the Irish Civil war. Nothing good comes from anger and insult and McMaster wants to reminds us of the fact. Bad theology cannot be an excuse for more violence.

So what is strong enough to take the place of a culture of violence centuries in the making? A new value system, McMaster argues, and a new ethics based on non-violence that includes peace and compassion. We don’t just need to demilitarize our society; we need to do the same with our mindsets and spirituality.

Faith offers the most devastating critique of violence, and it can only work when it counters the violent theology and God that has been carefully but erroneously erected in Ireland over four centuries.
Columba Press, $26.95.

Origin Theatre to wow at 1st Irish festival for the fifth time in New York

Jo Kinsella in 'For Love'

It's time to give Origin Theatre its due, because its fifth annual New York festival dedicated to Irish playwrights (the only one in the world, as it happens) is running from September 3 to October 1 in New York.

For Origin it’s been a catalogue of successes because the company is celebrating its 10th anniversary season, and this year the month-long festival features Irish plays and musicals from 11 contemporary Irish playwrights (plus Eugene O’Neill) in productions from Belfast, Dublin, Boston and New York. 

Each of the main stage shows of the 1st Irish, as the festival is called, will be presented at well known venues in the city like the Irish Rep, 59E59, the Irish Arts Center, the Cell and the Drilling Company. 

“Five years and we’ve featured 72 Irish playwrights to date. It’s amazing isn’t it,” Origin’s artistic director George Heslin tells the Irish Voice.

“It’s year five so now we’re getting a huge amount of applications for the festival from Irish companies, so this year we have a broader scope. It’s not just theater -- it’s musicals and other aspects of theater. This year we’ll stage panel discussions and related events too.”

Right on cue to offer his services and his star power is Origin’s newest honorary patron, the Irish and British actor Brendan Coyle (Downton Abbey). Coyle joined the company in May and will appear during the festival to announce an upcoming 1st Irish project in New York.

The Cell on West 23rd Street will be the venue that hosts the premiere of Hard Times, a new musical written by Black 47 front man Larry Kirwan that juxtaposes Irish and African-American folk traditions. Hard Times will run from September 12 to 29.

Other highlights include For Love by the gifted writer, director and performer Laoisa Sexton. It’s a play about three women navigating the choppy waters of Dublin nightlife. The play will have its world premiere at the Drilling Co. and run from September 25 to 30.

New York’s Double Decker Productions will present New York-based playwright Jimmy Kerr’s House Strictly Private, a dark comedy by this searingly funny writer set in rural Northern Ireland, at the Drilling Co. from September 26 to 30.

The Irish Arts Center will present the U.S. premiere of writer and performer (and Irish national treasure) Pat Kinevane’s Silent, one of the most talked-about shows in recent years. Produced by Ireland’s preeminent contemporary playwright theater company Fishamble, the Edinburgh Fringe winner arrives direct from its sold-out run at the Abbey and will play from September 6 to 23.

In another headline show, the critically acclaimed production of Marie Jones’ hilarious comedy Fly Me to the Moon will have its U.S. premiere at 59E59, and run from September 5 to 30. 

Alongside the plays there will be panel events that will include a night called Damn Yeats, We’ll Write Our Own Plays, which will be a guided conversation featuring 1st Irish artists about the unique perspectives, traditions and characters of Northern Ireland’s theatre scene dating back to the early 20th century. 

The talk will be hosted by NYU’s Glucksman Ireland House, which is located at 1 Washington Mews off lower Fifth Avenue, on Thursday September 6 at 7 p.m. The event is free and open to the public.

Another new aspect of the growing festival is an event titled 1st Irish on Film, from Stage to Screen, a new series that explores the challenges of adapting plays to film. 

Hosted by the New York Irish Center in association with the Irish Rep, the special event features the Irish Rep’s award-wining Ciaran O’Reilly, who will perform solo excerpts from Brian Friel’s Dancing at Lughnasa before introducing a screening of the 1998 film version starring Meryl Streep and Michael Gambon. The performance and screening will happen on September 7 and 21, both at 7:30 p.m.

There will also be a reading by author Tony Macaulay from his best-selling memoir Paperboy about growing up in West Belfast in the 1970s, hosted by the W.B. Yeats Society at the National Arts Club on September 17 at 6 p.m.

And for one night only there will be a special performance of celebrated Irish actor Garrett Keogh’s play Setanta Murphy, a drama that addresses themes of life and death, which will be presented by American Irish Historical Society in association with Origin Theatre Company on Tuesday September 11 at 7 p.m.

Visit www.1stIrish.org.

A look at books - Irish gems of short stories, novels and history

The Colours of Man
By Micheal O’Conghaile


Michael O’Conghaile is already a famous short story writer in the Irish language, but this new collection of his most celebrated works translated into English will introduce him to a larger (and I am certain appreciative) new audience.

A typical offering in this brilliantly funny collection of short stories is Death at a Funeral, where O’Conghaile illustrates just why he’s widely revered as an Irish language author. O’Conghaile’s works illustrate what the poet W.B. Yeats called the Irish preference for a swift current in both language and human interaction.

Just look at these opening lines and marvel at their economy and wit: “It would have been ridiculous for Eamon Bartley to stay ensconced in his coffin any longer. He couldn’t anyway. He was far too good to have died.”

O’Conghaile can keep this kind of thing up without ever faltering, and that hilarious streak of black absurdity runs through his best works, disarming you with its sheer good humor and smarts. But for all their surface dazzle, these are deceptively subtle works with quietly subversive intentions.

Possessing an insider’s knowledge of the rhythms of Irish rural life as he simultaneously satirizes them with an outsiders remove, O’Conghaile is one of the most interesting and prodigiously gifted Irish writers I have read in years.

Clo Iar-Chonnacht, $19.

The Absolutist
By John Boyne

Irish novelist John Boyne is already an Irish publishing phenomenon.  Best known for the hauntingly sad New York Times bestselling novel (and then film) The Boy in the Striped Pajamas, his new offering The Absolutist is his most satisfying and affecting novel to date.

Set in September 1919, Boyne introduces us to shell shocked 21-year-old Tristan Sadler, who has just taken a train from London to Norwich to deliver a package of letters to the sister of Will Bancroft, the young man who was his friend (and whom he fought alongside) during the Great War.

But Tristan has secrets, and it turns out the letters are not the real reason for his visit. Breaking down, he tells Will’s sister the true story of his friendship with her brother -- from their first meeting on the army training grounds at Aldershot to the wrenching finale in the trenches of northern France.

Boyne’s control of his material is masterful as he leads us into the smoking no-man’s-land of his hero’s scorched heart and soul.

Betrayal, jealously, pride and the stubborn refusal to embrace what you know will save you are all on display in this tragic and powerfully affecting new Irish novel.

Other Press, $16.95

Where Were You: Dublin Youth Culture & Street Style 1950-2000
By Garry O’Neill

Ravers, emos, goths, rockers, punks, new romantics, mods, skinheads, teddy boys -- depending what decade, Dublin knew them all.

Non-conformity has always had its own dress code, and now at last it has its own judicious chronicler in author Garry O’Neill (who for the record was once a member of one the most exalted underground youth groups of the last century – he was a teenage fan of The Smiths at their peak).

Beginning in 1950, O’Neill has carefully plundered the photo collections of hundreds of Dublin’s former scenesters to create this mammoth, funny and often moving tribute to the twin passions of pop music and street style.

Where Were You doesn’t intend to wallow in nostalgia, although it certainly invokes street styles and attitudes that are long gone. Instead it’s a vivid document of the hopes and aspirations of five generations of Dublin street culture.

Teddy boys are photographed in the grim Dublin landscape of the fifties. The loose-limbed swingers and hippies of the sixties stand in sharp and challenging contrast to the homespun city they parade through.

The seventies are commonly thought of as a lost decade for fashion, but the arresting diversity of style on the streets in those years shines through clearly in O’Neill’s fascinating book. The seventies scene begins with hippie relics and their voluminous flares, but it ends up with skinheads and punks and rockers revitalizing Dublin club land and music.

The eighties, one of the darkest economic decades in recent Irish history, still somehow manages to offer the widest range of alternative scenes in the last five decades, and O’Neill’s book captures the new romantics, the gender benders, the goths, the rockabillys and the newly emerging club kids who would lead the street style into the final decade of the 20th century.

O’Neill’s book is more than simply a record of the styles of each era. He has captured the hopes and dreams of 50 years of Irish teenage life. This book is a must have for anyone who grew up in Ireland between 1950 and 2000.

Hi Tone Books, $40.

Mary Deady’s American songbook at the West Bank Cafe

Mary Deady

Some singers are so good you can literally hear how much a song means to them as they perform it. It doesn’t happen very often, but it did last week at the West Bank Cafe on 42nd Street as Irish singer Mary Deady unveiled her latest musical journey at the Broadway hotspot.

A familiar face on the Irish scene in the city, it felt as though we were being collectively re-introduced to her since she is perhaps best known for singing Irish music. For many, including myself, this was our first introduction to her as a singer of the American songbook.

Aided by the utterly flawless musicianship of pianist and musical director Jeff Cubeta, Deady’s show From Ireland to America: A Musical Journey In Song was a marvel from the opening number.

It was Deady’s good fortune to be born in Co. Kerry, holy ground for generations of world-class singers and musicians. There she learned to play the harp, and later she left for Dublin for classically trained singing lessons that would eventually take her far from home on the musical journey that was her own life.

Deady chose songs that conveyed the immigrant love (and sometimes secret pining for) the homeland, and this she did as well as I have ever had the good fortune to hear. But the show has wider ambitions than merely relying on all too easy sentiment. Deady has a compelling tale to tell, and that is part of what takes this performance to the next level.

What I did not anticipate was being so moved by the deep connections between her life and the music that she took ownership of, each time from the first note.

Deady also sang songs in praise of the fairly demonic energy of New York City itself, and her version of the 1930 Cole Porter classic I Happen to Like New York seemed to conjure the whole damn city in a tribute that delighted the hard bitten New Yorkers in her audience. Believe me, that takes some skill.

“Last Sunday afternoon I took a trip to Hackensack,” she sang. “But after I gave Hackensack the once over, I took the next train back. I happen to like New York. I happen to love this burg.”

You know you’re deeply connecting when your audience is applauding you wildly before you’ve even reached the final chorus. That happened many times during Deady’s performance, and it’s a tribute to her skill as a singer that she could switch between the conflicting demands of the American songbook with its changes of mood and melody so nimbly.

You can’t sing a Stephen Sondheim song until you lived it first, and you can’t match his phrasing until you know exactly what he means. When you do, though, you can nail an audience to the wall with sincerity, experience, yearning and smarts that are his hallmark, and Deady did this so effortlessly that I found myself hoping selfishly she will consider offering an exclusively Sondheim evening in the near future.

In particular Deady’s rendition of “No One Is Alone,” culled from Sondheim’s masterful musical Into the Woods, found its emotional mark, conveying both rueful experience and the wisdom that it brings in the same note.

“Anyone Can Whistle” did likewise, but her version of “Not While I’m Around” from Sweeney Todd, which on the night she dedicated to her daughter, was so heartfelt and so carefully conveyed that it became one of the high water marks of the night.

There was fun to be had too. “Look to the Rainbow,” an irresistible number from the equally irresistible musical Finian’s Rainbow, lent some golden age of Broadway lyricism to the proceedings. In life as in song you won’t go too far wrong by following the fellow who follows a dream, and Deady made time for this reflection in her well-chosen set list.

I would have liked to have heard even more detail about her life and her relationship to the songs she sang on the night, but that was because Deady’s a natural storyteller, gifted with identifying the lessons of her own experience (and knowing how to have a laugh about them in the process). Hopefully that will be a feature of future productions.

Deady has travelled the world as the lead singer with the National Folk Theater of Ireland, but luckily for us she has found a home in New York City, where she has sung at signature venues throughout the city.
Knowing her audience on the night, Deady led a spirited encore of “Molly Malone,” and sent everyone home singing. What could be more Irish, or more delightful, than that?

Tiny Dynamite displays new Irish talent

Love's essence is always intangible, but it produces substantial consequences. In Abi Morgan's absorbing new drama, which has been given a compelling production by Origin Theatre Company at 59 East 59 Theatre, who we are to each other is at the heart of a bruising lifelong dance between three characters.

Lucien was a shy boy who has grown into a overly cautious and haunted young man (Christian Conn) and Anthony (Blake DeLong) is a ne'er-do-well who was struck by lightening when he was six and looks fated to live out a damaged existence under the watchful eye of his old friend.

Morgan underscores the enduring love between the two friends, which crucially runs just a little deeper than the mistrust that occasionally brims to the surface between them. As adolescents we learn that both men once loved a young woman who took her own life. The affection was so deep, the loss so profound, they can barely bring themselves to speak of it.

Instead what they do is go on an annual ritual: Lucien makes his yearly attempt to rehabilitate Anthony by taking him on a back to nature summer vacation. Fresh air, a bath, some new threads, regular meal times - these are the fairly patronizing moves Lucien makes to reconnect with his old pal and his past.

But gratitude and affection share the stage with moments of snarling anger and clearly unfinished business. Morgan knows that the two men, locked in a dance they can not end, have reached an emotional impasse and so she introduces a blow-in in the shape of Madeline (Olivia Horton) a free spirit who works the spot during the summer vacation months.

Left to their own devices the two men have worn themselves out with abstract philosophical speculations about the nature of creativity and destruction, which they at all times seem on the edge of themselves, until Madeline makes all that fine talk concrete through her presence and through recognizing the wrenching heartache that's behind all the smoke and mirrors.

Men, the playwright reminds us, can exhaust themselves with drunkenness and competition indefinitely, and perhaps Morgan indulges them too much in this respect. It is left to Olivia to be the foil and to bring the plays overarching themes of betrayal and redemption into focus.

But along the way the play meanders and then focuses in a way that can prove jarring to the viewer. Each time we find ourselves getting closer to the three characters and the interior objectives that motivate them it seems a philosophical debate erupts that pushes us away again or holds us at arms length. It's a frustrating tic that throws a veil of uncertainty over the proceedings just at the points when you most hope to connect. Morgan certainly seems as interested in experimenting with the plays form as she is in creating compelling characters and although this is admirable artistically it continually undermines the drama onstage.

Director Matt Torney has created one of the most lucid productions of a new play that I have witnessed in New York in a decade. Torney strips the stage and the production to their theatrical essence as though to compensate for and clarify the abstractions in the text. In the process he has mined the emotions that propel the three young characters and he has added immeasurably to the depth of this work. Torney's staging is eloquent, immensely confident and frequently beautiful to look at, coaxing remarkable performances from the cast.

In the end though it's Morgan's curious and reflexive introspection in the text that fails to satisfy. We learn of the private passions that have driven her characters and we come to care for them too, but the plays thematic obsessions consistently trump all other considerations.

Love may be intangible, but after witnessing how it has first leveled and then promised to redeem her three characters, there's a steep human dimension to these engagements that the play demurs.