Shibari is set in a contemporary Dublin, as we can see from the very first moments when a pile of Fifty Shades of Grey is placed upon a table. The premise is thus: six characters, linked together by relationship or chance, meet each other over several months. A believable enough idea, especially in Dublin, where, we are told, there exists only two degrees of separation rather than six. A good premise, neatly structured as a series of duologues that allows us to see these characters flirting, fighting and confiding in and with each other.
Gary Duggan’s writing allows for some lovely moments of dialogue, as the six characters interact with each other, revealing themselves to each other in glimpses that make up a whole portrait. Yet Duggan strays into moments of cliché and melodrama where his characters are writ large and events have a touch of the soap operatic. The character of Liam, charismatically played by Ian Lloyd Anderson, is the most natural and humorous of Duggan’s creations, yet he does not stray far from the stock traits of the Irish Lad. Neither does Hideo surprise us with any qualities that are anything other than archetypal Japanese; a shy florist in the ancient ichibane style who also happens to have the kinky pastime of bondage.
The design of Shibari is as overt as its cast. Frank Conway’s set suggests an Ireland that has changed radically from what it once was – a traditional Irish kitchen, complete with open fire and Sacred Heart, is upside and painted red. Contrasting this are Eimear Ní Mhaoldomhnaigh’s block color, matching costumes which emphasize connections in bold.
Duggan does put an interesting collection of characters on stage; our multi-cultural society is surprisingly under-represented by Irish playwrights. And indeed, the tragedies and mishaps that befall them are reflective of our current, modern life. Yet Duggan’s writing does not wholly convince, and his characters, while provoking recognition, do not provoke thought. For a play that we are repeatedly told is set in Dublin, there is very little done to evoke it, to summon up the true sense of it. And perhaps this is where this production falls short; we are told and not shown, and without being shown we rarely believe.
Clara Kumagai
