There are fleeting moments of poetry, yet for the most part, his prose ends up wandering down the same old musty alleyways.
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The writing is occasionally over-wrought – and as the play wends towards its conclusion it strains for a significance that it hasn't quite earned. Yet the acting is always pitch perfect.
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Some wondrous acting is sacrificed on the altar of an increasingly wonky plot in On Blueberry Hill, the first play in 10 years from Sebastian Barry,
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This poetic play is orchestrated like a piece of music by director Jim Culleton to reveal its haunting and constantly shifting perspectives.
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It’s a finely crafted piece, with some lines sweet enough to drink, others capable of breaking you apart.
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[On Blueberry Hill] unfolds like a slow-burn bedtime story. Full of warm wit and language you want to luxuriate in...but as a work of theatre it is static, with a story that becomes ever harder to believe as it goes on.
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Watching two characters never actually interact rarely feels terribly theatrical; ‘On Blueberry Hill’ could be a radio play, or a novella. The story moves, but it doesn’t always grab.
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Sebastian Barry’s tale of two cellmates succeeds despite plausibility issues...To work, On Blueberry Hill needs a leap of faith from the audience. I leapt.
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