The Rooftops of Paris fell far short of my expectations.

The story lacked direction or drama, the characters lacked integrity or realism and the set was selected lazily constructed

Harshest criticism must go to the actual written piece itself. The work, which considers young love and dreams of financial independence within the looming arrival of the Irish housing crash, is riddled with lazy characterisation and a complete mish-mash of styles. Much of the drama takes place within the confines of a pub and a young couple’s newly purchased house. To say drama, however, is somewhat of an overstatement. Playwright and director Ciarán MacArtain fails to grasp that a play channelling themes of Realist theatre, or the kitchen sink drama, must include dramatic action in some form or another. Harold Pinter's The Homecoming, for example, is a play focused on dialogue and inference, where little explicit ‘drama’ occurs yet a huge amount is still going on. The Rooftops of Paris presents us with the ordinary story of two ordinary young people. The writer fails to realise, however, that telling an ordinary story does not always produce a play of interest. Ordinariness must be married with insightful prose or relatability if it is to rouse an audience.

The play is riddled with plot holes. The protagonist goes from confident young man to distraught alcoholic within the confines of less than five months. Yet he still finds moments throughout this busy schedule of working, drinking, and moaning to read complex novels by James Joyce and poetry by Yeats – even though he lacks the time to sit down and talk with his wife. All the while, a mysteriously intelligent barman with a knack for linguistics seems to notice the young man’s read Dubliners just from the newly found timbre of his voice. The plot, or lack of, culminates in a baffling final speech from our lead protagonist. Not baffling because it is delivered poorly from the actor, but because, much like everything in this play, it leaves you wondering "What was that about?!"

The production was not without its redeeming factors. At some points, the leads, Daithi O'Donnell and Niamh Kavanagh, play with astute subtlety two young people who are clearly in love lack a true familiarity, a tenderness touched with awkwardness. Yet some seriously misjudged pottering around the stage and moving of furniture from Kavanagh detracted from her performance somewhat. Lochlainn McKenna gave a good performance as the barman, even if there were flaws in his written character.

In conclusion, the play ran somewhat like a school production. The story lacked direction or drama, the characters lacked integrity or realism and the set was selected lazily constructed. The show may be free, but I wouldn’t recommend it. 

Reviews by Duncan Grindall

theSpace on the Mile

Momma Was a Bad Mutha

★★
Assembly Roxy

The God Box: A Daughter's Story

★★★★
Bedlam Theatre

St Joan

★★★★★
Assembly George Square Theatre

Shirley and Shirley: Late Night Lock In

★★★★
Summerhall @ Roundabout

Britannia Waves the Rules

★★★★★
Scottish National Gallery of Modern Art

American Impressionism: A New Vision

★★★★

Since you’re here…

… we have a small favour to ask. We don't want your money to support a hack's bar bill at Abattoir, but if you have a pound or two spare, we really encourage you to support a good cause. If this review has either helped you discover a gem or avoid a turkey, consider doing some good that will really make a difference.

You can donate to the charity of your choice, but if you're looking for inspiration, there are three charities we really like.

Mama Biashara
Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. They give grants to set up small, sustainable businesses that bring financial independence and security. That five quid you spend on a large glass of House White? They can save someone’s life with that. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids.
Donate to Mama Biashara now

Theatre MAD
The Make A Difference Trust fights HIV & AIDS one stage at a time. Their UK and International grant-making strategy is based on five criteria that raise awareness, educate, and provide care and support for the most vulnerable in society. A host of fundraising events, including Bucket Collections, Late Night Cabarets, West End Eurovision, West End Bares and A West End Christmas continue to raise funds for projects both in the UK and Sub-Saharan Africa.
Donate to Theatre MAD now

Acting For Others
Acting for Others provides financial and emotional support to all theatre workers in times of need through the 14 member charities. During the COVID-19 crisis Acting for Others have raised over £1.7m to support theatre workers affected by the pandemic.
Donate to Acting For Others now

Performances

Location

The Blurb

A contemporary Irish play concerning newlyweds Charlie and Cara Barry. They've just bought a house, she's pregnant, he's a writer working in a bank, and the recession looms. What is lost and gained? Follow their journey.

Most Popular See More

The Play That Goes Wrong

From £24.00

More Info

Find Tickets

The Book of Mormon

From £24.00

More Info

Find Tickets

Grease the Musical

From £20.00

More Info

Find Tickets

Tina - The Tina Turner Musical

From £12.00

More Info

Find Tickets

Mary Poppins

From £24.00

More Info

Find Tickets

Matilda the Musical

From £24.00

More Info

Find Tickets