KING by Pat Kinevane – Dance Base

Dominic Corr

Aug 27

Written and Performed by Pat Kinevane

Directed by Jim Culleton'

Rating: 4 out of 5.

Basking in a regal purple, initially, it feels intrusive to enter the space.
It feels barren, save for a few props and pieces of set dressing, but the entirety of the space will become utilised in this compelling and pure piece of movement-infused theatrical storytelling.

Beneath that crown and sceptre imaginarily adorning Pat Kinevane's brow is a production that takes the Tango of life to the extreme – exploring the cocktail of privilege, resilience, prejudice, and mental health all stewing together in this struggle to survive.

There's more than one KING on this stage: Luther's namesake from Granny Bee Baw (She was partial to the great Martin Luther), for one. Elvis even makes an appearance as a side-hustle impression gig Luther takes up, and of course, Luther's dad. He's in care, but Luther makes sure to spend every day with him without fail. In fairness, Luther rarely ever leaves his now sparse home for anything other than visitations to his dad, and his occasional bit of work.

In the politest of manners, there's an agedness to Kinevane's performance. It's traversed the weight of life in all shades and grasped the heightened nuances of carrying a character to fruition. To capture a man falling so acutely down the cracks of life, politically, personally, and mentally, but still carry an immensely charming performance from start to finish is enrapturing; KING is a very special show.

A lot of it is channelled in Jim Culleton's direction of the space, Kinevane looming to the forefront and the back of the stage –intimate but detached. Mundane tasks make up a significant portion of the narrative as Luther irons, cleans and readies himself for his first date in, well, a while. But like his parents, he's a big fan of the dancing – as gradual movement sequences break up the monotony of Luther's life, and it's here the script's darker edges permeate with voice-overs, often cruel and violent, begin to ripple in and offer a much gloomier view of Luther's relationships, early life and current outlook. Choreographed well, audiences may be lost to the dance, but it's an integral part of KING, and one of the direct outlets and communication methods Kinevane uses to reinforce the script.

In a traditional Fishamble manner, the craic flows, and the words are all-encompassing throughout – KING, for all its movement storytelling and location within the movement hub of the Festival Fringe is profoundly magnanimous in scripting and spoken word. Kinevane's is such a richly authentic sense of humour and pathos, it becomes starkly recognisable multiple times throughout. KING presents itself without flourishes, more everyman than royalty; utilising intimate staging, precise purposeful movements, with a starkly mortal sense of humour and storytelling.

Mortal

KING by Pat Kinevane runs at Dance Base until August 27th at 18.30pm
Suitable for ages 14+
Running time - Eighty minutes without interval
Tickets: £16.00 (Con. available)