The events of DU Players’ Reverie festival, which ran from the 21st to the 24th of June, tastefully reflected the meaning of the word: being pleasantly lost in one’s thoughts, like a daydream. We kept finding ourselves lost in the nature of things, and speaking with DU Players’ Publications Officer, Saul Sherrard, he discussed the beauty of returning to real-life theatre and the running of the festival.
“The festival was themed around the outside and the aesthetic of nature. This year Players have not been able to perform on their stage, so they brought the elements along to play.”
The festival was themed around the outside and the aesthetic of nature. This year Players have not been able to perform on their stage, so they brought the elements along to play. With lockdown restrictions thankfully being lifted, there was definitely a unique use of location throughout – one of the festivals’ shows ‘Grianstad’ was even filmed amongst the greenery of the Wicklow mountains. “I think the idea of it being a hybrid event is very much an opportunity for people to work and film in person…It’s all still really different from regular theatre but it’s also not like a zoom play. Gladly, we’re starting to pass all that. It’s so cool seeing people in the society actually all together”, said Sherrard.
“I think we’re all very much ready to get back to normal after a year of zoom plays when everyone was stuck in their rooms. I think having to work around that gave people a lot of time to come up with some great pieces of theatre.”
When asked if Players are at all feeling overwhelmed or finding it difficult returning to theatrical normality, Sherrard replied with a simple “No, not at all.” Sherrard elaborated further, describing the desire of society members to return to the stage; “I think we’re all very much ready to get back to normal after a year of zoom plays when everyone was stuck in their rooms. I think having to work around that gave people a lot of time to come up with some great pieces of theatre. It’s nice to step out of the boundaries, and it’s just one step at a time as all these pieces are outside and spaced out. Hopefully, then the next step will be in September where we’ll have actual in-person pieces – No screens! Even outside performances will be beautiful.”
Throughout the week there was a lot of cross-format from the festival; with a combination of live events, pre-recorded shows, Tumblr posts, Spotify playlists, guest speakers, Instagram lives, and costume and cocktail zoom calls. “It was very much the shows that were organized first and I think we knew we had a headliner for each day but it all mainly revolves around the shows”, Sherrard explained.
“‘Aurora’ interlaces the magical and hallucinogenic aspects of a doomed friends-with-benefits love story; the whoosh of undeniable attraction rising into an irrevocable passion and the woe of the inevitable fall that follows when your feelings are not reciprocated.”
On the second day of Reverie a piece created, directed and composed by Medb Brereton Hurley, ‘Aurora’, was debuted. The original song ‘Aurora’ and its music video depict the turbulent nature of a relationship with a non-committal partner. Inspired deeply by Yeats’ poem ‘Towards Break of Day’, in which he experiences an erotic and maddening ‘double dream’ with his wife Georgie, and by the Sleeping Beauty fairytale, ‘Aurora’ interlaces the magical and hallucinogenic aspects of a doomed friends-with-benefits love story; the whoosh of undeniable attraction rising into an irrevocable passion and the woe of the inevitable fall that follows when your feelings are not reciprocated. The piece gave off a very Victorian feeling as a figure in an old fashioned white dress ran through a green Summer field; these thoughts were satisfied as she lay down on a blanket surrounded by candles, flowers and a copy of Jane Eyre.
“…Fanin’s is the story of a love affair with the written word that should serve as an inspiration to the next generation of aspiring artists. Writing for Fanin is ‘a compulsion rather than a career,’ instilling hope in students of the arts that, just maybe, their passion can pay the bills.”
A notable highlight from the week was when playwright, novelist and weekly columnist for the Irish Times Hilary Fanin spoke to Players on a Facebook live stream about her incredible career. In a touchingly candid interview, Fanin spoke passionately about the therapeutic nature of her writing and its role in “letting go of the weight of memory.” Beginning her career in 1980s Ireland, with few artistic opportunities for young creatives, Fanin’s is the story of a love affair with the written word that should serve as an inspiration to the next generation of aspiring artists. Writing for Fanin is “a compulsion rather than a career,” instilling hope in students of the arts that, just maybe, their passion can pay the bills.
On the final day of Reverie, another thought-provoking performance, ‘The Butterfly Effect’, was streamed on the DU Players’ Youtube channel. A pre-recorded production, this mysterious tale of surreal horror allowed viewers the opportunity to choose how they proceeded through the story. Each section ended with an option of two videos, meaning no experience of the play would be quite the same. An innovative endeavour by DU Players to adjust to Covid-19 limitations, ‘The Butterfly Effect’ is a testament to the creativity of the society during what has been an extremely challenging year.
