At least it wasn’t raining.
I could actually walk to and from the venue without having to hope some energy drink fuelled taxi driver will take enough pity on you to accept your booking only to have him secretly curse you as you’re directing him out of the city centre for a few minutes.
This play, a fictionalised take on the two men’s youth, focuses on a period leading up to the 1994 ceasefire and the subsequent removal of the broadcast ban. Although a regularly derided part of life at the time, subsequent generations used to seeing Gerry as an eccentric grandad who loves rubber ducks have found this aspect of the conflict highly bemusing.
As McKee told Belfast Live:
We have a line in the play where we say that the British Government hadn't reckoned on the ingenuity and bloody-mindedness of the journalistic profession because they were outraged, I think as well by it, and so immediately there were people within the journalist profession who went, right, how can we sidestep this, how can we get around this? Because it was an imposition on them as well . . . As young people, I think we were very aware of how anti-freedom of speech it was, and I was always sort of very proud to do them.
Although most people of a certain age associate Stephen Rea as the voice that would accompany Gerry on screen, McKee revealed that, to broadcasters Stephen Rea:
was too good, which meant then that [the broadcasters] tried to circumnavigate that by telling us not to be good and to be out of sync and all these sorts of things because they were going, if you do a perfect impression, it kind of defeats the purpose . . .
This wistful nostalgia works in its favour as it means the infrequent news reports of killings hit with the proper levity. All of this is sold to us thanks to the chemistry between Grimes and McKee. They’ve been at this for three decades and still play off each other with endless enthusiasm.
However, it never lets us forget that there was a war on and there are moments when the characters are forced to confront the differences between their upbringings as well as the contrast between conservative parents and their more liberal offspring. These moments give the play weight and force the audience to understand that such division would not be easily solved with a ceasefire.
It also occasionally hints that the memories under discussion may not be 100% accurate, therefore offering up a critique of self-appointed voices who harp on about how important a particular moment in the cultural zeitgeist was but are basing their information on second and third hand information.
One such example is at the end of Act One where our two protagonists find themselves at one of the famous Sugar Sweet raves at the Art College and ‘Insomnia’ by Faithless is the soundtrack. However ‘Insomnia’ was first released in November 1995 and didn’t become a big hit until a re-release in October 1996.
Funny, wistful, poignant and thought provoking. This was a great night at the theatre.























