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Images: Alan Dukes

POSTED: 05 DECEMBER 2009

Shining City, by Conor McPherson

Inside Job & Griffin Independent | The stables Theatre, Darlinghurst, Sydney | Until 19 December

If there were an award for the most surprising ending of a play this year, I would have to give it to Shining City. I won’t leak what happens, but suffice it to say that, as one, the audience gasped and froze. It took the techies up the back, beginning the applause, to break the spell.

Conor McPherson has created a tale of ghosts, disconnection and isolation. Ian (Alan Dukes), a former Catholic priest, has begun a new calling as a therapist. John (Laurence Coy) seeks help for dealing with the death of his wife.

John’s already complicated grief is compounded by the fear that he is losing his mind, as he continues to see his wife’s ghost.

As Ian clumsily endeavours to help John, he battles with his own ‘ghosts’. His relationship with partner Neasa (Caroline Craig) is tense and fragile. Confusion around his sexuality leads him to an encounter with Laurence (Ben Geurens) ... which seems to raise more questions than it answers.

McPherson’s naturalistic dialogue was at times patchily paced, but as more becomes known of the characters one is surely drawn into their lives.

Coy in particular is compelling to watch. He weaves a riveting story of an awkwardly contrived affair that is absorbing in its pathetic banality.

Although certainly evoking the sense of a grubby little office in downtown Dublin, the set’s background of boxes (some opaque, some transparent) was strangely distracting, as was the occasionally too-loud city soundscape.

Nonetheless, Shining City is a character-driven piece that builds effectively to its climax.

Leaving the theatre on a hot summer night, that final image gave me goosebumps worthy of midwinter Dublin. Brrr.

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