Nothing beats live theatre, as they say. Well, nothing beats Kate Gilmore, as Grace, in ‘Safe House’, shown in the Abbey Theatre. Gilmore delivers a phenomenal solo performance, as we’ve come to expect from her after her stunning work in “The Wickedness of Oz”. Outstanding credits must also be paid to writer and director Enda Walsh, who through his mastery of playwriting and theater, told a powerful story of survival.
At the start of the performance, we are introduced to Grace (or as I remember her, the “Irish Princess”), in the midst of a Ballet performance like no other: full of rage and objects being flung around in a chaotic, emotional release, a. A satisfying expression of emotions. I could feel that the people around me, myself included, weren’t quite expecting what we saw. However in the next scene, Grace reveals a different side of herself, chanting at us haunting lyrics. It is probably now that I should make it known that this is like no other play, I (or probably anyone) has seen before. Walsh in his own words describes the indescribable by labelling his work as “song cycle…a gig”. There is no dialogue, only song—yet it is no musical, let it be known.
Now is also a good time to acknowledge the wonderfully terrifying score (this is a compliment). Anna Mullarkey, wow. Others have noted how her compositions are “sometimes comforting and sometimes haunting”. That is all I have to say on that. Actually no, there is one particular scene I must mention– something I noted in the observational notes I made in the theatre ‘The Sad Rave’.
If you’re not intrigued by this performance by now, I don’t know what to tell you but that it gets even better.
The performance highlights serious issues such as domestic abuse, sexual abuse, alcohol abuse, and much more. Kate Gilmore is superb in her nuanced portrayal of Grace. Grace is so vulnerable that you feel the urge to get up on stage and give her a hug, and tell her it will be okay. Additionally, Kate Gilmore deserves congratulations for her stunning vocals. The Sinead O’Connor-esque lyrics and instrumentals were executed amazingly by Kate.
I would also like to take a moment to express my appreciation to Adam Silverman, Jack Phelan, and Helen Atkinson; the lighting designer, the video designer, and sound designer, respectively. The three individuals must get along wonderfully outside of the theater because inside the theater they truly complimented each other, demonstrating the love of their craft wonderfully. Their work together reminds me of a tuk tuk–Three wheels working in harmony. Without one of those wheels, it’s just a bike. That is what sets Safe House apart from any other performance I have seen before. A tuk tuk rather than a plain old bike.
Kate’s stage presence was assisted by the outstanding set and costume design. Katie Davenport, the set and costume designer, must be acknowledged with excellence. When the curtains opened and we saw Grace standing there, I already felt I knew so much about her just by seeing what she was wearing and what her surroundings were. As the performance went on, I learnt even more– so thank you, Katie.
Finally, I am so glad that I was invited into Grace’s world for ninety minutes. A spectacular evening and a true accomplishment for all those involved in this production. I learnt so much about Grace, of course, but also about myself. That is the magic of theater. You come out of the auditorium as a different person from the one who entered, even if it was just picking up a little Gaeilge, sin sin.
