Autobiographical "memory plays" weren't all that common when Hugh Leonard wrote his about his father and their relationship. Neither was the device of a mature person interacting with a remembered younger self. Now, however, Da's use of these dramatic devices seems less fresh, more contrived. Not that V Craig Heidenreich lacks conviction as successful Irish playwright Charlie, back from his English home to his childhood one, where he's just buried his Da but can't shake his presence.
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