‘Skirmishes’

Press, 14 March 1985, Page 4

‘Skirmishes’

“Skirmishes,” by Catherine Hayes, directed by Aileen O’Sullivan for the Actors Company at the Court Studio. March 13 to April 6. Running time: 8.15 p.m. to 9.45 p.m. Reviewed by Gerrit Bahlman. Presented at Mercury and Downstage, the Actors Company production of “Skirmishes” is an intense study of the conflict between two daughters at the bedside of their incontinent, paralytic mother. Jean, “the one who stayed,” is exhausted and embittered by the tedium of her nursing role, while Rita is tom between her commitment to her husband and children and her obligations to her mother. Jean’s full-blooded, sarcastic irony is hilarious in its practicality. Rita is defensive and awkward in her inability to relate to the reality of her mother’s condition and her sister’s desperation. The calibre of the performance by the three women — Jane Waddell (Jean), Andrea Kelland (Rita), and Hilary Cleary (motlMff) is outstanding. The contig of pace and the use

of deliberate silence to evoke the intermediate quietness of the sick-bed vigil is masterly. The comfortable silence is full of relevance to anyone who has experienced attendance of the sick. The levels of tension between the two daughters evolves as the play progresses. Barren Jean versus prolific Rita: “You’ve got ovaries on you like Bren guns.” Sticking it out versus divorce: “Why does Mel go away so often?” “He sells floor mops and I don’t want any.” The background and evolution of the present are treated scripturally, with revealing comic frankness but with undertones of bitterness and hurt. The comparison of lifestyle and directions becomes blurred as we discover that both women harbour resentments and regrets. Both are frustrated, embittered, and unfulfilled. Jane Waddell is well known for her television appearances in “Close to Home,” “Rabbiters Rest,” rand “Country G.P.” Her experience shows. Jean is not

allowed to become dark and gloomy. The ironic honesty of her attacks on Rita are delivered with appeal. Jean’s emotional intensity is drawn exquisitely. Andrea Kelland’s Rita is fragile and delicate. Her emotional volatility and desire to be different are clear undercurrents which Ms Kelland handles confidently. Hilary Cleary as the mother has a demanding task to perform. Central to the dramatic dialogue, great discipline and control were exercised in maintaining credibility. The relatively few utterances and gesticulations merely underlined the importance of the credibility of the patient. Any disruption of the facade would leave the play in mins. Hilary Cleary’s task was not an enviable one confronted with troublesome flies and so on.

“Skirmishes” is a superb production, handled with realism and professionalism. It is a first-rate introduction to the writing talents of Catherine Hayes and begs the.* presentation of more of feer works.