There are two stories intertwined here, one being a fun and versatile vehicle (pun fully intended) enhancing the accessibility and pathos of the other. The first is a contemporary comedy, centred on a couple’s trip in Ireland, with each on their own particular quest while there. The second slyly uses the first to delve into some of the country’s dark history, as well as its relevance to us today – especially as playwright Rod MacPherson neatly ties it all up in the end.
The production is harried from the outset, and director Andrew Johnston’s use of the stage and placement of props and costumes initially felt messy, with set pieces apparently pulled from corners of this church venue, all contributing to a distracting level of discord. This, however, bothered me less and less as the show progressed, and as Coppens and Allen owned the space, finding and replacing each piece with an ease only available through muscle memory and confidence. The energy in this high-octane romp started to flag as they rounded the bend on the home stretch (particularly noticeable in the surprisingly anti-climactic realization of Tom’s “quest”) – but Coppens left enough in the tank to deliver a closing that was not only satisfying but impactful for an appreciative audience.
“In Ireland We Rented A Car From Criminals” continues its run in Venue #3 of the Storefront Fringe Festival…
Thanks for a perceptive, honest and fair review, Will.