THE SAVIOUR: SEEKING REDEMPTION AND RAPTURE, AGAINST ALL ODDS
7 / 10
I’ll admit I found the tonal shifts that accompany this development a bit jarring. When Mullen’s Máire is alone with her invisible Son of God, her confessions and revelations tickle and sting; once her own son, played by an adroit and appealing Jamie O’Neill, enters the picture, their increasingly heated conversation is less tempered by levity, or wit. And those twists, while dramatically engaging, seem a bit contrived—the first in its sheer awfulness, the other in its conspicuous topicality. Aoife Kavanagh’s sound design, likewise, can be aggressively ominous, particularly as the play reaches its chilling conclusion.