THEATRE REVIEW: The Beauty Queen of Leenane (@Curve, Leicester)

The show opens with a downpour of rain, drenching the front of the stage and splattering any viewer unfortunate enough to be sat in the front row. It’s an interesting touch and a well done one at that.

But if metaphors were ever apparent (in whatever way you may view a downpour of rain), this would be one that would carry itself throughout the entirety of Martin McDonagh’s The Beauty Queen of Leenane.

Immediately afterwards we are introduced to two of the play’s four central characters – the old and somewhat senile Mags (played by the wonderful Nora Connolly), and her daughter, the love-starved (and sex-starved, if you will) Maureen (Michele Moran).

Before even a line of dialogue passes between the two, we are aware of the rising tension in the room. It is quite obvious to the audience that the relationship that these two women share isn’t quite what you would expect from the regular mother-daughter combo. The show’s two hours keeps us entertained with the constant banter and bickering between the two.

The majority of the play takes place in the living area in the house that Maureen and her mother share. While tightly knit, the stage design doesn't do much to amplify any of the conflicts between the characters. This was disappointing to say the least, as this was a feature that could have been well used to compliment the claustrophobia that Maureen must deal with as a result of her mother’s over-bearing presence.

The Dooley brothers, Ray (Andrew Macklin) and Pato (Stephen Hogan) add a welcome dose of comedy and drama (respectively) outside of the mother-daughter pairing. Ray offers laughs-a-plenty in his seemingly aggravated nature and is easily the star of the show (that is, if you can manage his accent bordering on the tinges of being Welsh).

However, and with the exception of Ray’s scenes, I found myself not nearly enjoying the comedy as much as I thought I would. As a fan of McDonagh’s works in film (particularly In Bruges and Seven Psychopaths) I did go into this expecting it to a bit of belly-slapper.

But where a great deal of the audience was laughing at the interaction between Mags and Maureen, I often found myself forcing a smile. Every moment had the potential to be as hilarious as the scenes involving Ray, but I couldn’t help but feel as if they fell a bit flat more often than not.

Outside of the comedy it is the story and the constant momentum that it breeds that carries the play through to its unpredictable and satisfying end. Scene after scene further raises the tensions and conflicts and I found myself sitting on the edge of my seat during the climatic final moments.

Verdict: whilst entertaining and extremely well acted, it leaves behind a lot of potential to be much funnier than it actually is.

Rating: 3/5

ALBUM REVIEW: Protest The Hero - Volition (2013)

Protest The Hero are a group that have garnered much wide-spread attention thanks to their intense guitar riffs, pounding drums, bouncing bass lines and of course, vocalist Rody Walker’s incredible diversity. Kezia was a brilliant debut, whilst sophomore effort Fortress was (and still is) a mind-blowing experience.

But for those of you who felt that their last outing, Scurrilous, didn't quite live up to the highs that they had previously set themselves, you need not worry. Volition is every bit as brilliant as a PTH record should be, and then some.

For the most part, Volition comes across as combining the finer moments from PTH’s back-catalogue, fusing together riffs, melodies and grooves together in a way that the band had previously attempted, but never quite managed. Even with the departure of drummer and founding member Moe Carlson and the band resorting to crowd-funding to get the album of the ground, Volition is without a doubt the keystone in PTH’s career to date.

The album opens with ‘Clarity’, its infectious beats and grooving guitars managing to effortlessly lure you in for the next fifty-four minutes. ‘Drumhead Trial’ and ‘Tilting Against Windmills’ follow up, but it’s not until ‘Without Prejudice’, with its thundering bass line and melodic chorus that you really get a sense that PTH are pulling out all the stops with their recent release.

And sure enough, the rest of the record quickly follows suit. ‘Yellow Teeth’ is a powerhouse of a track that leads into the second half of Volition with a juggernaut of momentum that is just impossible to stop.

Of course though, just when you think PTH do not feel the need to give themselves any breathing space, the final moments of ‘Plato’s Tripartite’ comes as a pleasant surprise. Its soothing acoustics and intertwining vocals from front-man Rody and guest vocalist Jadea Kelly creates a sound that is unlike anything PTH have done to date.

One listen to tracks ‘Mist’ and ‘Skies’ is enough to tell the listener that PTH are not a band who are afraid of venturing outside of their comfort zone. But while PTH might be stepping out into the direction of a sound that might alienate any long-time fan, they instantaneously make it theirs to show off.

Finale ‘Skies’ is arguably the highlight of Volition and one of the best tracks the band have written to date. Along with ‘Tilting Against Windmills’ and ‘A Life Embossed’ it sees the return of Rody’s screamed vocals. For those of you missed them on Scurrilous, rejoice!

As a whole, Volition is the best PTH record to date, never once faltering or ever falling flat. It gives fans of old a little bit of something that they had managed to encapsulate on previous releases whilst still leaving itself open for new fans to jump aboard. For anybody who is a fan of well-written riffs and beats, give Volition a listen. It’s easily one of the finest records to be released in recent memory.

4/5