“This is a slice of kitchen sink drama that neatly captures the complexities of the not uncommon Irish scenario of a grandmother rearing the child of daughter who died from drugs. Nan lives happily in her inner-city home, looks after 17-year-old grandson Thomas, and argues with her daughter Annie, who doesn't visit very often. Young Thomas is the apple of her eye, but the rest of the family have a more jaundiced view of him; he has been accused of stealing his uncle's wallet. Also, he has been caught robbing a warehouse, and the judge has put him on probation. Thomas sometimes doesn't come home at night, leaving Nan frantic. Is he with his girlfriend, or up to no good? Parcels accumulate in the flat, and Nan wonders if they are stolen. She covers for her grandson in the face of criticism from Annie. And when Nan starts forgetting things, like leaving the tap on or boiling the kettle dry, Thomas covers for his grandmother, to prevent the family from putting her in a home.
Deirdre Monaghan is winning as an emotionally honest Nan. Newcomer Callum Maxwell has charm as well as intensity as Thomas; his vibrant account of a film set, which he may or may not have visited, is a tour de force. Brenda Brooks has the more grumpy part of the daughter Annie, and she carries it persuasively. Emotional intensities are finely tuned by director Vinnie McCabe and the pain that Thomas has experienced feels real: losing his mother at 14 and being discarded by his remaining aunt and uncles. Like Nan, the audience is on his side. Michael J Harnett has written a touching mini-epic. It aims high as a picture of a whole family, who have gone up in the world while not bringing all members along. This is the sort of Dublin family portrait created by the great Maura Laverty, whose play Tolka Row became Ireland's first TV soap opera. Harnett's writing is in this soap opera vein, but he isn't afraid to push a more emotionally operatic element, and the lines are smart and good. A satisfying gem of a show.”
-Katy Hayes, Independent
THE cloudspotter
“This play was produced by Allergy Theatre for the 2022 Five Lamps Arts Festival. The action takes place mostly in a flat near the Five Lamps. The set gives the impression of a cluttered home. There is a sofa and a table on which there are various bits and pieces but most prominently a music centre. There is also a small area which contains, hidden from view, a kitchen whose exterior is indicated by a tiled wall. This cosy flat has been the home of Nan (Deirdre Monaghan) for many a year. She now lives in it with her teenage grandson Thomas (Callum Maxwell) who, when the play begins, has unfortunately already been in trouble with the law. Although Nan is not familiar with the workings of the criminal justice system she makes a plea on his behalf and has, as a result, the challenging task of trying to ensure that he does not get into any more trouble with the law and that he attends school each day. Given Thomas's demeanour that is not going to be easy. The other relative who appears is Annie (Brenda Brooks). She is another daughter of Nan. She and her husband have a low opinion of Thomas and she has no difficulty in letting Nan know what they think of Thomas and indeed of Nan.
The role of Nan is pivotal to the plot. She is a Dublin mother and grandmother who has seen it all and should, if there was any justice in the world, be putting her feet up and having a well-deserved rest. However, she is having to protect her grandson Thomas from the vagaries of the world while her own faculties are on the decline. Monaghan plays this substantial character with a fine understanding of the challenges Nan has to face. She is at her best when her natural sense of the comic brings a smile, even if there is little enough that she has to smile about. Nan is a most engaging character as played by Monaghan. Maxwell too has a substantial part for a young actor. He is an infuriating truant a lot of the time but he is able to dream of a better life and is able to share his unlikely dreams with Nan which gives them both a sense of escape. The title of the play comes from one of Thomas's dreams. Annie's part is a vehicle to relate various family tensions and prejudices which Brooks does admirably but it affords Brooks little opportunity to develop the character of Annie.
The devastation of drugs means that there are many women, who are getting on in years, who find themselves having to care for a grandchild. Harnett in Nan has created a woman of loving responsibility who is determined to do the best for her grandson Thomas, her flesh and blood, when there was no one else to take on the task. She is a proud woman, a funny woman and a courageous woman. She is determined to do her best for Thomas in her increasingly frail state. The play lasts an hour and it is an hour well spent in beginning to understand the immense challenges that these fine women, like Nan, face as they try single-handed to raise a grandchild. It is what is happening now all over the country. It fits the purposes of Vincent McCabe, a co-founder of Allergy Theatre with Michael Harnett and director of the play, who is seeking to create theatre that is "exciting", "entertaining" and "asks questions". It ticks those boxes. Find the time to make a lunchtime trip to Bewleys.”
-Frank L. No More Workhorse
“Fair City meets Harold and Maude in Michael J. Harnett's The Cloud Spotter. A bittersweet slice of inner city life in which two souls search for a sense of family. Teenage tearaway Thomas, sporting a chip so large you could land an aircraft on it, has problems processing his mother's death. A thief on probation, he's presumed to be up to no good whenever he disappears from school, or heads to Wicklow allegedly working on a movie. His grandmother, Nan, sees only the good in him. Or refuses to see the bad. Making excuses for Thomas to her daughter Annie who's suspicious about the boxes collecting in the hallway. Especially as Nan isn't the sharpest tack in this world of missing wallets and burnt kettles. Likely to need more than Sonny Knowles songs to take care of her cares now early stage dementia is setting in. A meditation on ageing, family and the generational divide, Harnett highlights an aspect of working class life more common than is often acknowledged. Namely, the matriarchal role in the life of the young being filled by their grandmother. Which Harnett turns his searing yet loving gaze upon, revealing an unconditional love so blind it borders on martyrdom. Steeped in soap opera tropes, The Cloud Spotter's episodic scenes gambol along, even as Harnett's script raises more questions than it ever satisfactorily answers, right up to the bittersweet finale. Yet story plays second fiddle in The Cloud Spotter to its characters. Whose individual and familial dysfunctions are underscored by love, all realised by the playwright's loving attention.
If performances don't always look fully nailed down, with some cast members looking uneasy with eye contact, under Vinnie McCabe's direction the overall sense is of a cohesive chemistry working wonderfully well. Brenda Brooks as Ann is remarkable as a young woman trying to do the right things. Relative newbie Callum Maxwell as the troubled Thomas might seem less assured at times, but he hits some fine moments that ring true with promise. But The Cloud Spotter is all about Deirdre Monaghan, breathtaking as a woman unequal parts loving, annoying, old school and new dawns. Whose brain, and hips, might be fading, but whose heart beats strong. Conor McCague's set might maximise the space, but it does so unimaginatively, looking cramped and clumsily constructed, his functional lights never exploiting their full possibilities. But in the presence of a captivating Monaghan you don't really care about what could be improved on. The Cloud Spotter might have its head in the clouds at times, but its heart rings true. A true little gem of a production, with Monaghan simply mesmerising.”
-Chris O’Rourke, The Arts Review
“Grab yourself a coffee or hot chocolate from the takeaway bar in Dublin's iconic Bewley's Café this lunchtime and head up to its theatre on the second floor where The Cloudspotter by playwright Michael J Harnett will captivate and move you. The lights come up on 16 year old Thomas stood before the court. As his misdemeanors are being put to him in a cleverly crafted setting of the scene, Nan steps forward to plead for leniency. She has raised her grandson since his Mother died from the "scourge" of drugs. He is a good boy who goes to school "most days". The young offender is released on probation into her care and they retreat to the cosy kitchen of their inner city flat near The Five Lamps pub. The only problem for Thomas is that his beloved Nan, who's in her seventies, is dipping into dementia. "I'm getting forgetful and I worry about it sometimes". What concerns her most is the fate of her artful Grandson without a guiding hand. Certainly Nan's other children, Annie, Dave, Jean and Lar don't seem to have any interest in their nephews' well-being. "I wonder what's going to happen to the baggage?". Thomas' telling of his Fathers absence in his life gives rise to the title of the play.
In dramatic terms, Michael J Harnett's script ticks every box. We laugh out loud at antics involving kettles, Sonny Knowles, Mrs Brennan's gnomes and tagging Nan. (Annie) "Tag me Mother? How does that work?", (Thomas) "I know a bloke". There is intrigue about a movie being filmed in the Wicklow mountains which may or may not be real. And we feel terrible pity and heartbreak towards Thomas and Nan, not only for the tragic death of Thomas' Mother but also for the devastating impact of dementia on their lives. One daughter, Annie, checks in on her Mother. Brenda Brooks plays perhaps the most nuanced of the three characters. The part is in safe hands. Providing conflict in the piece, Brooks showcases Annie as hard and unsympathetic, "They'll take you away whether you like it or not". We see glimpses of a softer, kinder side, however, in a behind the scenes intervention over a wedding invite and her unexpected appearance at the grave of Thomas's Mother. You may have come across Brooks, who is also a talented Singer, in works such as The Contraceptive Train, The Ha'penny Bridge and The Wireman.
Deirdre Monaghan is consummate in her portrayal of Nan. This is unsurprising given her accomplished bio to date which includes roles in productions such as Fair City, Game of Thrones, Inspector George Gently and Whistleblower. Monaghan's on-stage chemistry with Gaiety School of Acting graduate Callum Maxwell as Thomas is utterly on point. The relationship between Grandmother and Grandson provides some deeply poignant moments. Maxwell is not only a promising young Actor but has written Oh Brother, which is to follow The Cloudspotter at Bewley's Café Theatre this February. It might be worth noting that while the venue is really lovely and inclusive, it is not large and so heated dialogue may be slightly too loud for the space. Towards the end of the play Thomas comes to collect Nan from the Mater hospital and brings some clothes and shoes for her to wear home. He forgets tights but remembers to include a sparkly necklace. The gentle care with which he helps her dress is heartrending. Nan's gentle crooning of Frankie Laines song, "I'll take care of your cares for you, I'll be there when you're feeling blue" couldn't encapsulate their close and loving bond more succinctly. Credit to Vinnie McCabe's direction. The Cloudspotter is communicated beautifully and seamlessly to its audience and dare I say it, has a little bit of the elusive magic that makes watching it a pocketful of joy in your day.”
-Louise Tallon, The Reviews Hub
Gießen (red). Eine erfrischende Abwechslung stellt die neue Produktion des Keller Theatre dar, The Cloudspotter von Michael Harnett in der deutschen Premiere. Es ist ein Kammerspiel über einen problembehafteten jungen Mann, seine Oma und das Leben, gewürzt mit feinem Humor. In der Regie von Martin P. Koob entfalten sich situationsbedingte Heiterkeit und reichlich emotionale Nuancen zu einem berührenden Spektrum. Das Publikum in der ausverkauften Premiere war höchst angetan. Das Keller Theatre begeht in diesem Jahr sein 65. Jubiläum, es ist schon länger das älteste englischsprachige Theater in Deutschland. Aufgrund des besonderen Anlasses der deutschen Uraufführung dieses irischen Theaterstücks gab sich Dr. Patrick McDonagh, stellvertretender
Generalkonsul der Republik Irland aus Frankfurt, die Ehre und schaute sich das Stück an. Es sieht gerade mies aus für den jungen Thomas (sehr charmant und quirlig: Thomas Macken), er ist bei einem krummen Ding erwischt worden. Jetzt steht er vor seinem Richter (sehr seriös aus dem Off: Jannik Schürmann) und wird zu Sozialarbeit verdonnert. Und nur weil seine Oma hoch und heilig schwört, dass sie ihn auf dem rechten Weg halten kann und wird, bleibt es diesmal dabei. Dabei ist er durchaus kein Unschuldslamm, er ist so ein bisschen auf die schiefe Bahn geraten, erhält Pakete, die nicht geöffnet werden und treibt sich rum, statt in die Schule zu gehen. Und er nimmt eigentlich nichts ernst, scheint es, ein echter Hallodri. Seine Großmutter (wohltuend differenziert und mit verschmitzter Pointierung: Angelika von Kittlitz und Ottendorf) macht sich große Sorgen. Sie hat den Jungen beim Tod seiner Mut- ter aufgenommen. So toll geht es ihr selbst nicht, ihr Gedächtnis verabschiedet sich gerade allmählich, und den Teekessel lässt sie auf dem Gasherd verglühen. Dafür geht sie dann ins Kaufhaus und klaut einen neuen, wird erwischt und landet prompt auf der Polizeiwache, wo sie nur zufällig die Nummer ihrer Enkelin findet. Jetzt sitzt sie da, in Schlafanzug und Mantel, und muss abgeholt werden. Wieder daheim, erinnert sie sich gelassen an die Situation: >Waren nett die Polizisten, es gab Tee und Toast, wenn auch nur Margarine drauf war, keine Butter.<
Unverständlich ist der Hang der hoch motivierten Darstel- ler zu Positionen weit voneinander entfernt, was eine leichte Künstlichkeit erzeugt und die Betrachtung ihrer Interaktionen erschwert. Friederike Bauer spielt Nans besorgte Enkelin Annie ausdrucksvoll und glaubwürdig, fast ein bisschen zu modern, aber durchaus noch menschlich, und vertritt die konventionelle Position der Familie: was wird, wenn Nan nicht mehr für sich selbst sorgen kann, soll sie in ein Heim? Thomas ist rigoros dagegen und wirft Annie und der Familie vor, die Oma wie Müll zu behandeln, den man loswerden will. Da krachen sie und Thomas aufeinander, ins Heim soll die alte Dame keinesfalls, findet er. Er ist fest entschlossen, sich um sie zu kümmern. Thomas Macken spielt den leicht entwurzelten Teenager sehr überzeugend, leichtfüßig bis leichtsinnig und nicht gewillt, sich über irgendetwas Sorgen zu machen. Fantasie hat er reichlich (>Was ist dein Vater von Beruf? fragt der Lehrer ihn einmal, und er antwor-tet >Wolkentaucher in der Wüste.<), und die Szene, in der er Nan von seiner Mitarbeit an Dreharbeiten an einem Krimi erzählt, gehört zu den amüsantesten im Stück. Der Autor hat das geschickt auf der Grenze zwischen Einbildung und Wirklichkeit platziert, und Macken liefert das höchst natürlich ab. Die Großmutter kann gar nicht alles glauben, was der Bursche so erzählt. Abgetrennte Arme und vergrabene Brieftaschen? Und der Zuschauer kommt auch schnell in Zweifel, ob der Typ das alles nur erfindet. Es ist aber schön, wenn er sich vorstellt - und der Oma erzählt - wie sie beide, wenn er einmal berühmt geworden ist, nach Hollywood gehen und es sich da gut gehen lassen werden. Thomas ist halt, das wird auch am Ende des Stücks deutlich, ein zutiefst fürsorglicher Mensch, der seine Nan nie im Stich lassen würde und außer übers schnelle Geld auch das Schicksal der geliebten Ersatzmutter nachdenkt. Macken schafft es, seine Figur mit leichter, aber unübersehbarer Warmherzigkeit auszustatten und seinen beträchtlichen Charme komplett im Zaum zu halten.
Von Kittlitz und Ottendorf wiederum liefert die schlagfertigen Repliken der alten Dame, die mitnichten komplett am Ende ihrer geistigen Fähigkeiten ist, so wunderbar lakonisch, dass man sie manchmal fast überhört, ansonsten sind sie aber köstlich. Dieses Stück ist keine auf Pointen gerichtete Komödie, der Humor entfaltet sich hier manchmal fast beiläufig. Der Autor behandelt seine Themen einfach ernst- haft, ohne humorlos zu sein, das Stück ist eine erfrischende Abwechslung im Spielplan und arbeitet mit ganz zeitgemäßen Themen. Das Premierenpublikum nahm regen Anteil am Spiel und wusste komisch, wie ernster Aspekt gleichermaßen zu würdigen, am Ende mit einem riesigen Applaus.
- Review of the German version of THE CLOUDSPOTTER produced by the Keller Theatre Company in Giessen