Absolution

Absolution delves into one of the most controversial topics of our era: abuse perpetrated by ordained members of the Roman Catholic Church.

It presents the fictionalised testimony of one man's reaction to such acts, chronicling the murder of five priests all guilty of abusing children.

This un-named character is played by Owen O'Neill, who also wrote the hour-long monologue. He presents the audience with a complex character. There is no sidestep into background or unnecessary commentary; instead, he spends the entire time simply detailing each murder. Shades of the character reveal themselves throughout the hour, but the focus primarily remains on the 'why' and 'how' this man came to take each life.

The production's greatest asset is that it doesn't try to be anything other than a dramatisation of an individual's statement. There is no directorial commentary and the writing doesn't give the audience any easy answers or excuses. The audience must take every word and action depicted and come up with their own interpretation.

In fact, it is completely up to the audience to decide whether the character deserves absolution or not. Whether you believe every word of the story and whether you see the character as a serial killer or an avenging angel is entirely up to each person. The production takes a great risk in trusting the audience to do all of the work. It is a risk that pays off.

O'Neill is to be commended for both his acting and writing. The piece is always riveting without being sensationalised or overdramatic. There is enough evidence to allow the audience to reach any conclusion it wants to draw. The character is also not a black/white incarnation; he's sincere enough to be sympathetic but violent enough to be feared.

Director Rachel O'Riordan has the difficult task of dramatising a production that must not look dramatised. O'Neill's work requires a mostly naturalistic setting, which is exactly what she has achieved. Slight sound and lighting effects are used mostly to highlight the actual killings, but O'Riordan still finds ways of balancing the stage, allowing the character to slowly evolve throughout the performance.

Upon leaving the theatre, I overheard an audience member tell his partner 'Every Festival, there's always 'The One'!' With its intelligence, highly literate script, compelling performance and blatant challenge to the audience, Absolution may in fact be this year's 'One'.