Abosolut Fringe 2010
Smock Alley Boy’s School.
Developed as part of The Performance Corporation’s SIMPLY Space Programme.
“All elements coalesce in this intimate glance at the workings of our human hearts.”
– Kathy Clarke, Irish Theatre Magazine
“A new group with […] a well defined voice and clear goals, with a dedication to new writing”
-Totally Dublin Feature Article
SOH was Spilt Gin’s first Fringe show. It was a tricky script to develop and we spent some lovely time in Castletown House working on the structure character development. This ate into rehearsal time more than I would have liked but we got there in the end. The stunning set design for the play was made by Emma Fisher. She really embraced the challenge of occupying The Boy’s School space.
‘For fear we’ll be alone, we do so many things that aren’t us at all.
We’re all just invisible muscles pulling on each other.’
George Watt is a radio announcer, and his two step-daughters are Sophie and Emily. A young man, Will, bursts his ways into their lives. Reasons soon unravel.
Soh is about telling people things. And it is about
words: what they can get, who they can get, and where exactly they can get you. Into a head, and into a heart.
It is a play about love missed, love made and love broken. It is a story of longing for belonging, and about the nature of relations.
It is a new play.
Nathan Gordon – Will
Emily Jeffers – Lily
Fiona Lucia McGarry – Emily
Cara Christie – Sophie
Padraig Murray – George
James Hickson – Writer
Maeve Stone – Director / Dramaturg
Moira Brady – Stage Manager
Nicholas Codd – Production Manager
Emma Fisher – Set
Katherine Graham – Lighting Design
Gareth Averil – Sound Design
BangBang Studios – Graphic Design
Hazel Mulhare – Costume
Sarah Bredin – PR
KATHY CLARKE WRITING FOR IRISH THEATRE MAGAIZINE, 2010
“We’re all just invisible muscles pulling on each other”: this tricky concept is the basis of SOH, the latest offering from Split Gin Theatre Company. The question on everyone’s lips: What is love? Is it feeling a river running under the skin of your lover? Is it the touch of a man who lives on self-hate and lettuce? Is it simply the words of men tapping on metaphorical typewriters?
We’re here in the Boy’s School at Smock Alley to tell stories, says the omnipotent disc jockey presiding over proceedings. We’re here to talk about ‘things’. When Will Watt sees a beautiful woman for the first time, he can sense three things about her without asking her favourite drink, favourite flower and her ‘clo’ (most preferred item of clothing). He’s a poet, talking a pretty story, playing with words and slyly entangling himself in the lives of two sisters, Emily and Sophie.
Justifications for his trickery remain undisclosed for a large part of the action, the audience left in the dark. James Hickson’s clever writing keeps dialogue short and controlled. Words are used sparingly and pack a punch that would curdle the insides. “Does Hamlet love Ophelia?” “Google it.”
A visually intriguing set designed by Emma Fisher provides physical representations of the onstage themes. Coloured ribbons extend long and plentifully from an old typewriter. Flashes of red, yellow and purple as they move, changing the dimensions of the space. All elements coalesce in this intimate glance at the workings of our human hearts.