Cyprus Avenue

Few Australians would have a solid understanding of Northern Ireland and the full impact of fanaticism there. Over the past 20 years, extremism has been narrowly framed by the media and politicians - usually Islamic extremism or, more recently, that of the far right. But we all fear people who are different - and this shocking and brutal play is a warning of how ugly that fear can become.

The protagonist of Cyprus Avenue, Eric Miller, lives in Belfast with his family and is non-negotiably Protestant and British. He is traumatised by the past, which is presumably why he so irrationally believes his five-week old granddaughter looks like Sinn Fein leader Gerry Adams. 

Eric is worried his granddaughter will be raised Irish and Catholic. His daughter Julie insists she won’t be but nor will she be raised British and Protestant. Instead, she wants her to respect everyone and not judge over religion or race. This enrages Eric and he becomes violent - both emotionally and physically.

Director Anna Houston and designer Ester Karuso-Thurn have set this play against a simple but effective bright, white set, in the intimate Old Fitz theatre. From this whiteness comes a lot of dark - from the moment the play begins, there’s a sense of doom. The action is expertly played out in tightly directed scenes right in front of us.

The acting in such a small space has got to be good. And boy is it so. Roy Barker is superb as Eric - he truly inhabits this man, capturing such a sense of confusion and bewilderment as he struggles to comprehend the changing world. It’s a layered and complex performance, best demonstrated in a riveting monologue (which is perhaps too long but that’s forgiven thanks to the execution).

Alongside Barker is Jude Gibson as his wife Bernie. She’s also brilliant. In fact, it’s hard to pick a fault in the acting from this wonderful ensemble. Branden Christine is masterfully restrained as the clinical psychologist Bridget, Lloyd Allison-Young nails the violent Slim and Amanda McGregor gives great heart to Julie. 

David Ireland’s play starts ingeniously as it establishes the extremist views of such a sympathetic character in Eric. But unfortunately Cyprus Avenue veers slightly off track - the violence becomes so extreme that the play loses its focus on extremism. Instead, we find ourselves watching a man with severe mental health issues harming his family. We lose empathy for him and the play loses its impact.

It’s still a fascinating play. And the acting is five-star in this brilliant production.

Peter Gotting

Photographer: Yure Covich