Shining City

Although described as a 'chilling urban ghost story,' Conor McPherson's Shining City is far more dramatic than it is frightening.

The story revolves around Ian, a former priest who has now set himself up as a therapist in Dublin. His client, John, is a widower, haunted by the ghost of his recently deceased wife. Their sessions are interspersed by scenes that reveal more from Ian's personal life, but the confessional aspect of Ian and John's sessions are the true essence of McPherson's writing.

The play deals with themes of communication and guilt, using therapy as a form of internal storytelling. The narrative circles around the characters. Both Ian and John are haunted by their personal tragedies, and we soon realise that there are many forms of ghosts that haunt our lives.

As John, the patient, Michael Glenn Murphy shows himself to be a true performer. His narrative comes across completely natural and sincere, gripping our attention throughout the second half. And although Ian is mostly silent during their sessions, Fintan McKeown's statuesque demeanour emphasises the distance and isolation of his character.

The emptiness felt by many of the characters is echoed by the sparsity of Karen Tennent's stage design. Ian's office is genuinely bleak, but completely believable as a functioning habitat. Given the relative lack of movement in many scenes, I would have liked to see a greater effect from sound and lighting. There is an emotional crisis occurring onstage, and the total realism makes it difficult at times to become involved with the characters.

Shining City is an insightful drama filled with subtlety and nuance. There are elements that remain carefully hidden, even unto the end, but astute theatre-goers will undoubtedly enjoy unravelling the many layers of McPherson's story.