Get in: The Get-Out, O’Reilly


The Get Out’s
incredibly funny script charms its audience on its opening night. Though slightly leaving the audience behind, in the first half, where the plot is concerned, the second half fills any gaps and gives life to a slightly pale opening. One is certainly kept on one’s toes, whilst following characters who are all preoccupied with the events of the previous night.

The audience is welcomed into the world of ‘Bubblerocks Youth Theatre Group’ in Belfast by the sight of an office (turned Chinese take-away storage on the weekend) that has been turned upside down and two stragglers from what must have been a roaring party the night before. One by one we are introduced to the characters and dynamics between them quickly are established and liven a scene that is initially flavoured solely by the hangover of Bubblerocks’  co-founder, Aine (Mary Flanigan).

The relationship between the two owners of Bubblerocks –Aine and Sarah (Ella Waldman)- produces some tense scenes. This permits the audience a glimpse into their world and struggles between allowing their artistry to flourish whilst desperately trying to manage lack of financial support.

With the arrival of a potential funder, the pair (alongside Sam, Lloyd Houston, their stage director and middle-man in the constant bickering of the two leading ladies) the group tries to get its act together. They are helped by and eclectic group of teenagers, who are all more preoccupied with what really happened during the previous night’s party than demonstrating their theatrical prowess.

The second half finally allows the audience to understand what has really preoccupied the group all morning. The irony of Aine’s promise that “it’ll be a quiet night of adult-supervised fun” becomes quickly apparent. Through a set of tableaux and short lively scenes the audience are informed that this drunken fun was heightened by full adult participation. The quirky script enables the characters to present a mix of teenagers trying to discover themselves through a combination of artistry and drunken dancing.

The ending itself, though not focussed on Bubblerocks’ future, permits for an enjoyable discovery of all that last night’s fun entailed. The play comes to life with the help of a vibrant cast and some excellent staging. Whether on stage or off, something is always going on to catch the audience’s attention be that drunken misdemeanour or a dramatic monologue on the importance of letting loose your artistic capabilities, never mind the lack of financial support. The opening night made one thing clear; everyone should get in to ‘The Get-Out’.

**** (FOUR STARS)

The Get-Out plays at the Keble O’Reilly Theatre until Saturday.