QR Theatre Review: The Sword & The Sand
The Sword and the Sand is the latest stage play from Belfast playwright and author, Pearse Elliott. The play tells the story of middle-eastern refugee Azir, who flees from one world of conflict to another (Northern Ireland).
Duff (Marty Maguire) is an ex-paramilitary who now turns his hands to local crime and the extortion of drug dealers and delinquents to fuel his own vain, flashy lifestyle as well as his lingering violent tendencies. Duff takes in Azir (Mark Asante), who has suffered great losses in fleeing trauma in an unnamed Middle-Eastern country. Duff attempts to make one big score on the elusive Turbo Molloy (Paddy Jenkins). Meanwhile, Azir and Duff’s protégé, the idealistic Cricky (Gerard Jordan Quin), who believes in a cause Duff has long since forgone, both learn the true nature of the world they now live in.
The cast is excellent: the truly warm and likable Azir gives the story depth, which is helpful when it comes to audience attention and emotional involvement. Similarly, Duff acts as the villain, providing a focal point for the audience’s hatred. Cricky and Duff’s girlfriend, LaLa (Bernadette Brown), are also noteworthy. LaLa’s monologue is in two parts, which gives rise to a surprisingly stand out moment. Turbo Molloy makes the most of his role despite limited stage time. Overall, the cast performs to a high level, however, are in part hindered by a script which is clunky at times.
The sword and the Sand confronts themes of identity, violence, ideologies and purpose. Elliot is a writer who is evidently familiar with a lot of these themes, particularly with his recent debut novel The Executive Game with similar concepts. Unfortunately, The Sword and the Sand is a more frustrating story. While some scenes and exchanges perfectly encapsulate the play’s message about violence, an unwieldy and blunt script hinder what could have been an excellent play about the parallel worlds of violence in Northern Ireland and the Middle East.
The play was staged in the Naughton studio in the Lyric Theatre in Belfast. This smaller stage allowed for minimal set dressing which gave rise to the excellent performances of the cast to portray an intriguing story. This also allows for some very interesting staging techniques. In a pivotal scene in the second act, for instance, moments of total darkness are used to demonstrate the passing of time while also permitting the audience a true insight into the dark minds of the characters involved. The appearance of an ethereal bride in act one, representing Azir’s departed wife from the first act, is similarly engaging. These techniques are limited, hence, provide some of the most engaging moments in the play.
Themes of the redundancy of violence, ideologies and radical ideas are all touched upon especially in contrast against the real human loss these can cause. Elliot’s script is realistic and engaging for the most part as his characters are life-like and believable. Throughout the story there are snippets of dialogue which epitomise what the play reaches for. The highlights of which include a monologue by LaLa about her disappointment with her lot in life and Duff’s discussions about the cycles of violence in which he is involved. The handling of the play’s eponymous metaphor of the sword and the sand speaks to the show’s overall struggle. This metaphor is quickly rushed through with little exploration as to its meaning. The cast is excellent in parts and the language employed is realistic. However, failure to properly explore its key motifs cannot be overlooked and truly hinders the play as anything more than an interesting story.
As a whole Elliot’s The Sword and the Sand is an enjoyable play which tells an engrossing story about both likeable and despicable characters. In terms of plot, it is entertaining but as an examination of violence both in Northern Ireland and the Middle East, the play fails to properly explore or confront its own questions. Something especially frustrating given Elliot’s excellent examination of similar ideas in his other works.
3/5 Stars
This review is based on the closing performance of The Sword and the Sand from May 27th 2018 in the Naughton Studio of the Lyric Theatre Belfast.
By Sean Hughes