The interest in a writer who is essentially a commentator on the moving face of social mores is likely to ebb before the tide of more current and seemingly more relevant new dramatists.
The play opens with a deafening crash as the unimaginable is realised and a peace loving, democratic, capitalistically inclined city is reduced to nuclear waste.
A gifted embroider of words, Friel combines soft lyricism and hard meaning in his play, a tragical comical historical pastoral on a spree and spoiling for a spirited spar.
In the care of Pinchgut Opera’s director, Erin Helyard, this music, formulaic as it indeed is in some respects, sprang off the page into an experience rich in emotions.
Iolanthe and Janet Anderson work in cosmic, comedic accord, characterisation charismatic, timing impeccable, delivery precise, together a tour de force that ascends the cliché.
Blind faith and rational belief are always sparring partners in dramatic conflict and so it is here with the power play tinged with superstition and salaciousness.