Lippy, a theatre piece based on a true incident that occurred in Leixlip, Ireland, where four women committed suicide by starving themselves to death, starts with a postshow discussion.
I was so hungover, I wasn’t sure if this was part of the show (it is) or whether I was late and had somehow missed the play. It was possible: I had already turned up to review it without something to write on, or with.
So while the reviewer next to me furiously scribbled notes in his little book, I decided to rely solely on my wits and the power of my pounding head. The theatre, at least, was nice and dark Besides, how hard could it be? I’ve reviewed loads of plays…
The problem was, like its subject matter, Lippy is a confounding. Why did Frances Mulrooney and her three nieces, whom she raised, choose to end their lives this way? Why did they shred all their personal documents? A play that tried to answer these questions would be putting words into their mouths, and Lippy is intelligently aware of this conundrum.
So in the play’s sinister and expressionist imagining of the women’s last days, starving to death in the same house, much emphasis is put on the impossibility of ever achieving clarity. Words overlap, get lost, become distorted. People speak without moving their lips, or move their lips only to have different people speak for them. The play constantly disorientates and disturbs, thwarting any attempt to grasp a coherent meaning. Yet, I continued my attempt to grasp, leaning forward in my seat – like that would help. The whole thing was enough to make my head hurt – more than it already did.
The play ends with a mega Beckettian soliloquy delivered from the lips of the last living woman in the house. It is dark, and impactful – especially after almost an hour of not receiving a clear sentence – leaving the theatre in stunned silence.
An affecting play, not to be watched when hungover.
Lippy was on at Berlin’s Schaubühne as part of the Festival International New Drama (FIND) 7-17 April 2016.