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Script and performer combine for a fine display of Irish storytelling. Summary
Rating
Excellent
Many years ago, I spent some time in Peru. I was doing some shopping in Miraflores, a slightly upmarket shopping area when a man in the street said something to me. While my Spanish was OK, I didn’t immediately catch what he said. Sensing my confusion, he switched to English and simply said “I’m hungry.” In that instant, I chose to continue walking, dismissing the encounter as a typical street request. However, as time passed, I couldn’t shake the memory of him; his tone, his switch to English and the simple yet profound words he used to express his need, stuck with me. Over 15 years have now passed, but I can still vividly picture his face, hear his words, and I think back on that moment with guilt.
Author Brian Foster had a somewhat similar experience, and he has transformed it into Myra’s Story. This poignant monologue delves into the life of a homeless alcoholic, the choices and tumultuous events that shaped her and have ultimately left her destitute on the streets of Dublin. The production is playing on the Jersey Boys’ set which leaves little room for show-specific set design, but all that is needed is a bench, as this is where Myra spends her time – by Dublin’s famous Ha’penny Bridge.
Playing Myra is the talented Fíonna Hewitt-Twamley, who not only skilfully embodies the protagonist but also brings the characters of her friends and family vividly to life. Hewitt-Twamley’s voice and comedic timing add layers of depth and humour to the performance. Her range is truly impressive, with just under a dozen figures brought to life, each sounding clear and distinctive, although a couple slip somewhat too far into caricature.
There are standout moments, such as when Myra takes her first real determined sip of vodka, only to have the bottle talk to her. There are also some issues. It seems odd that after two previous miscarriages Myra is unable to recognise signs she is pregnant, and that the news is a big joyous shock. Scenes where Myra and her friends mock the appearance and disfigurement of other characters do not sit well at all and feel cruelly out of place. As the story brings us up to date with Myra’s life she slurs and shows the drink having a great effect, and this is very well done, but the tugging at the audience’ heartstrings moves slightly more towards contrivance than natural impact.
As Myra stands with outstretched hand seeking change for her “medicine” she is met with a series of uncaring reactions. Passers-by ignore her, some jeer at her predicament, and others, in an unfathomable display of cruelty, kick and beat her. It’s evident that Myra didn’t choose this life; instead, a chain of tragedy and misfortunes led to the streets. That doesn’t make her any less human or any less deserving of our help and Foster’s telling of this story based on factual events serves to remind us that with different life choices it could be us sitting homeless on a bench desperate for the next drink.
Trafalgar Theatre is a mere two-minute stroll from 10 Downing Street, centre of political power, but approaching it you will invariably see destitute people. After the curtain call, Hewitt-Twamley explains that each stop on the tour contributes to a local organisation aiding the homeless. Myra’s Story has forged a partnership with The Connection at St. Martin-In-The-Fields, a charity just a stone’s throw away, across Trafalgar Square. It is a testament to the work of all involved in this production that there are queues to reach the donation buckets on the way out.
Written and directed by Brian Foster
Myra’s Story plays at Trafalgar Theatre on Tuesdays at 19.30 and Wednesdays at 14.00 until 18 October. Further information and tickets can be found here.
