Gates of Gold

As an Irish theater buff (fifteen years as reviewer for "Irish Voice" newspaper), I was looking forward to seeing Frank McGuinness's Gates of Gold, which advance publicity had advertised would be the story of the founding of the famed Gate Theatre in Dublin.

Instead, the play turned out to be the story of a love affair between an actor, Gabriel (Martin Rayner), and Conrad (Charles Shaw-Robinson), a director. Gabriel is dying, and thus he spends his time in bed where he aims a lot of cruel and sardonic remarks at Conrad, who demonstrates the height of solicitousness and concern. As befits an actor, Gabriel is highly theatrical in his delivery, courtesy of the energetic and extroverted Martin Rayner.

It is brought out that the pair has founded a theater together at some time in the past. They appear to have a lot of "old business" to be sorted out before Gabriel must join the ensemble in heaven (my term), or wherever.

Basically a very talky play, some life is injected with the appearance of Alma (Kathleen McNenny), a nurse who is determined to stay with Gabriel till the end, although she is warned by Ryan (Seth Numrich), Gabriel's nephew, that no one lasts long on this job; the client is too ornery. Kassie (the attractive Diane Ciesla), Gabriel's sister, makes several appearances, but lends no conflict to the proceedings.

In fact, lack of conflict is the primary problem of this play and what little interest there is must come from the performers. And for the most part it does. Mr. Rayner wins strong audience response, which is commendable when one considers what an absolutely unpleasant fellow he is. Kathleen McNenny is, arguably, the second strongest contributor to holding any interest. The rest of the cast is fine but find it difficult to make a particularly strong impression given the lack of plot or tension-value.

Strangely, there was little hint that these characters were Irish, with the exception of Ms. McNenny, who had a definite Irish lilt to her speech. Michael Schweikardt's set, depicting the bedroom and sitting room of Conrad and Gabriel's house, is quietly elegant and suitable to the material. Lighting by Phil Monat and costumes by Nanzi Adzima complete the technical picture, all under the direction of Kent Paul.

In case one wonders the source of the play's title, a program note informs that it is inspired by the emblem originally designed by Michael MacLiammoir for the Gate Theatre in Dublin, which he co-founded in 1928 with Hilton Edwards.