And so I find myself in Berlin, continuing my fellowship at the remarkable International Research Centre ‘Interweaving Performance Cultures’, Freie Universitat, and preparing to set off to the German language premiere of one of my plays at Mainfranken Theater Wurzburg. I will write about my research work in a future blog, along with the German language premiere of The Almond and the Seahorse – translated by Frank Heibert as Mandel und Seepferdchen. Before I move on to this German adventure, I feel I have to complete the circle with my previous production, Cosy, The Llanarth Group in association with the Wales Millennium Centre, supported by Unlimited.
It is one month since that play premiered, and I have only really absorbed the astonishing critical response to the production, directed by Phillip Zarrilli, with a wealth of Welsh women performers: Sara Beer, Llinos Daniel, Bethan Rose Young, Ri Richards, Sharon Morgan and Ruth Lloyd.
Sara Beer as Maureen in ‘Cosy’. Photo: Farrows Creative
I have been collecting the reviews and responses, and excerpts follow, with links to the full reviews:
Brief extracts from reviews of COSY by Kaite O’Reilly
8-12 March, 2016 Wales Millennium Centre
‘COSY: It will make your heart pump and your belly shake.’
Denis Lennon Art Scene in Wales (March 11, 2016) http://www.asiw.co.uk/reviews/cosy-wales-millennium-centre
‘When the lights go up at the end of Kaite O Reilly’s Cosy in the WMC’s Weston Studio, you might find that you have to pick yourself up off the floor and put an ice pack on your face for the clobber it gives you. This play fights you and your natural urge to ignore the inevitable; it provokes and can reduce you to tears like any great fighter. And it does so, as O’Reilly does so well, through language…This production stirs and questions our ideals of life and death in a beautiful and sensitive manner. It will make your heart pump and your belly shake. A thought-provoking night that is not to be missed.’
New Welsh Review Issue 110 (Winter 2016)
‘Cosy’ by Kaite O’Reilly at WMC
Sophie Baggott https://www.newwelshreview.com/article.php?id=1169
…‘Cosy’ is simultaneously the most moving and entertaining script I’ve heard on a Welsh stage in years…The all-female cast members are each phenomenally in tune with their characters… O’Reilly’s writing is, at times, breathlessly beautiful. Without warning, bickering is wrenched into raw, soul-searching outbursts… [O]ne might…have been aghast at the deafening decibels of laughter spilling out of Weston Studio throughout the performance. Yet, rather than cloaking ‘Cosy’ in gloom, O’Reilly’s play beams with black comedy. The sisters are wickedly funny in this cross-wired mess of a situation. The playwright displays a quite perfect clip of how families so often muddle their way through the most maze-like dramas with a ‘well, you have to laugh’ mentality.
Sharon Morgan in ‘Cosy’. Photo: Farrows Creative
The Arts Desk, 4 stars
Powerful disquisition on ageing, death and womanhood
Gary Raymond 10 March 2016 The Arts Desk **** http://www.theartsdesk.com/theatre/cosy-wales-millennium-centre
‘Kaite O’Reilly’s new play is a dark dark comedy, a Chekhovian family saga on a mainly bare stage that handles its subjects of aging, death and family with a rich and grounded intellectualism to be expected of the playwright’s work. The production itself skips lightly along the thin line that separates reality from a discomforting dreamscape, the waiting room: everyone is waiting, for death, for life, for family members to arrive. It is an ominous comedy…
Sharon Morgan is regal as Rose; Ri Richards, Ruth Lloyd and Llinos Daniel are excellent as the sisters; Bethan Rose Young has perhaps the most difficult task as the precocious 16-year-old who seems to learn nothing in school other than enlightenment philosophy; but it is Sara Beer who steals the show as Maureen, a brilliant and disconcerting comic turn that from the off envelops the play in a sense of the otherworldly.’
Western Mail/Wales Online
Cosy tackles the difficult subject of suicide with comic timing and emotional depth
Jafar Iqbal 10 March 2016 http://www.walesonline.co.uk/whats-on/theatre-news/cosy-tackles-difficult-subject-suicide-11020164
‘Good things happen when Kaite O’Reilly comes to Cardiff. Previous visits have resulted in critically acclaimed productions showcased by the likes of Sherman Cymru and National Theatre Wales…For what is arguably her most intimate production to date, O’Reilly may also have produced her best…Cosy is a tender meditation on the value of life…What immediately stands out when watching Cosy is its honesty. O’Reilly tackles an extremely sensitive subject with a matter-of-factness that is, at times, shocking. Suicide is discussed frankly, without prejudice and, crucially, with laugh-out-loud humour, giving it a legitimacy that is both liberating and unnerving at the same time…six exceptional performances. The characters are all beautifully developed, the natural chemistry between them all making for great viewing. Standing out from the pack is Sharon Morgan, as Rose… As the play reaches its powerful conclusion, the audience is gripped. Comedies about suicide aren’t made too often but, in writing a very good one, Kaite O’Reilly proves yet again why she is amongst Britain’s best playwrights. And someone welcome back to Cardiff any time.’
Llinos Daniel (Gloria), Ri Richards (Ed), Sharon Morgan (Rose), Ruth Lloyd (Camille) and Bethan Rose Young (Isabella) in ‘Cosy’. Photo: Farrows Creative
The Stage. 4 stars.
Cosy review at Wales Millennium Centre – ‘deliberately discomforting confrontation with death’
Rosemary Waugh. **** https://www.thestage.co.uk/reviews/2016/cosy/
‘“Well, doesn’t this look cosy?” says Gloria (Llinos Daniel) as she lets herself into her mother’s living room. Yet, despite the title, there is nothing cosy about Kaite O’Reilly’s new play. Instead, all aspects sit incongruously with one another, from the self-consciously fashionable clothes warn by middle-aged Camille (Ruth Lloyd), to the clunky, prep school philosophy phrasing spouted by granddaughter Isabella (Bethan Rose Young) and, most of all, the different family members forced together.
This conscious discomfort continues into Simon Banham’s set design, which starts life as nondescript, dust-sheeted mounds, before morphing into blood-red lines of nursing home chairs that slice the space into disjointed angles. Lighting by Ace McCarron brings the medicinal into the domestic setting, turning first spearmint blue and then a saccharine peach. Gloria, the most estranged daughter, is introduced in a blaze of red, while the increasingly frequent mentions of death turn the stage black. The production’s soul is found in the musical interludes by Daniel, which act as buffer zones between the fraught familial exchanges.
Rose’s (Sharon Morgan) insistence that her family must confront the idea of death is the ultimate un-cosy element. Her more didactic ruminations are lifted by Sara Beer’s humorous, subtler comments on assisted suicide and disability…’
Bethan Rose Young, Sara Beer, Sharon Morgan in Kaite O’Reilly’s ‘Cosy’. Photo: Farrows Creative
Dr Mark Taubert. Ehospice.com
Author: Dr Mark Taubert, Clinical Director/Consultant in Palliative Medicine, Velindre NHS Trust, Cardiff) (http://www.ehospice.com [palliative care news])
‘Where to begin to describe this play by renowned playwright Kaite O’Reilly? I’ll start by making up a word: ‘uncosy’ came up repeatedly in my mind with an ill-at-ease feeling delivered with unremitting pace throughout this play……Sara Beer gives one of the stand-out performances in this play, with her witty, funny and astutely observed thoughts on modern medicine, life, death, attitudes towards disabled people and also assisted suicide…
‘Cosy’ dealt with the big ethical questions our society will face in future in a surprisingly balanced way. This balance is achieved by witnessing debates between people with very different opinions: they argue and argue, but this is portrayed in an informed way.
Advance care planning, advance decisions, do not attempt cardiopulmonary resuscitation decisions (and tattoos) all get pitched in such a way that a medical professional like myself could identify with this societal critique – and not cringe, as so often happens when fiction tries to imitate medical reality. I nodded a lot during the play, mainly in recognition of what I have seen and heard in hospital, community and hospice medicine over the last 16 years…’
British Theatre Guide
Cosy ‘…wears its deep seriousness lightly; a tale of empowerment which leaves one deep in contemplation.’
Ruth Lloyd in ‘Cosy’. Photo: Farrows Creative
3rd Act Critic
Cosy: ticking meat
Holly Joy https://3rdactcritics.wordpress.com/?s=Cosy&submit=Search
‘We are hit with a sombre set. Cosy, it says on the backdrop. Exquisitely mournful music plays, a woman’s voice breaks the air and it begins. Watching these remarkable women enact such complex and difficult subjects – ageing, euthanasia, suicide, terminal illness and sibling rivalry with sense, passion, anger and humour was sobering.’