Broadway Baby

Stepping Out tickets

'Sometimes I wish our friendship was less like therapy,' Aine McKevitt declares midway through 'Victor and Gord Cubed'. The statement captures something essentially human and universal: friendships are vital in understanding who we are, where we've come from and relationships can give us the strength to find ourselves.'Victor and Gord Cubed' explores the life-long 'constipated' friendship of Aine McKevitt and Victoria Curtis, as they recall true events, tell stories and gossip, share bad habits and endearing qualities. They're joined by Ali and Michael, a brother and sister who introduce themselves by explaining that they often pretended to be twins, although they are one year and four months apart. Their sibling relationship is an interesting counterpoint; tales of childhood capers are similar but they go on to share their experiences of growing up in the village pub, leaving home, and Michael's coming out. Fergus Kealy and Jay Breen are the latest additions to the cast and, potentially, the most interesting. Complete strangers first introduced to each other at the opening of the Fringe Festival, both had some reservations about their involvement in the piece, which was devised by drama graduate Una McKevitt with the cast. In a relaxed, conversational style all six proceed to share their tales. Childhood games share equal prominence with momentous grief, schoolyard enemies become wedding invitations, memories expand, conflict, and come together again. They all describe home, comment on 1992, compare cinema habits and are occasionally allowed to qualify statements made by the others. There are short blasts of frenetic action to demonstrate life's high points, and poignant pauses. Moments of loneliness collide with ridiculous zip-fastening incidents. There was an audible whimper from the audience when Jay confessed that he had not one good memory of childhood; it was all drugs, fights and sitting on the stairs crying. But he shrugs, casting it off, and someone launches into another humorous tale. Life, we accept, trundles on and carries us with it. The most compelling moments of this piece are when different characters take on each other lives, and try out strange stories in their own mouths. The audience sifts, remembers, connects. We come to know these people intimately, to care for them and to worry with them when Ali hopes Michael will talk to her more, and Aine hopes she'll be as close to Vickey after the run ends. There is a palpable gap in the other relationship, though. Apart from a pint-throwing accident and a begrudging respect, no time is spent on any bond between Jay and Fergus. We leave wondering if they will stay in touch; if Fergus will ever wait tables in the restaurant where Jay cooks award-winning salmon.'Victor and Gord' began life as a twenty-minute piece devised for the Project Brand New 3 in January 2009. Clearly hooked by the idea, Una McKevitt brought Ali and Michael Barron on board in June for the Queer Notions Festival, and then introduced Jay and Fergus for this production. It is a simple, touching piece that provides many laughs, the odd tear and a lively version of Man in the Mirror that had the crowd clapping along. A sensitive, honest exploration of friendships, it engages and amuses, and reminds us of the importance of celebrating the simple things that have made us who we are.


Project Cube. 10th, 11th & 12th September. 6.30pm. Matinee Sat 12th 1.00pm. хл15/12 (no difference for matinee). (75mins)

The Blurb

You know those friends you grew up with? Went to school with? Laughed, cried, partied and pulled with? D’you ever wonder sometimes, if they’d ever just F*ck Off? Real Life friends Vickey and Aine, aka Victor and Gord, have only one thing in common, each other. Sneaky cans. Sneaky fags. Free love. It was Ballinclea Heights. It was Killiney. Victor and Gord CUBED is a funny and moving theatrical celebration of friends and family featuring two additional real life relationships, including a brother and sister. Victor and Gord CUBED. Real Lives. Told by the people who live them.

"...charming, engaging and completely exploitative.” Irish Times



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