The Gap Year

Clare McMahon's The Gap Year is a warm, thoughtful and deeply human exploration of friendship, ageing, feminism, regret, reinvention and the choices that shape our lives. In this production at MADS Theatre, these themes were handled with sensitivity and care, creating an evening that was frequently funny, often moving and ultimately uplifting.

One of the production's greatest strengths lay in its visual storytelling. The set design, with artwork reminiscent of vintage travel posters, provided a delightful backdrop for a narrative that hops across numerous locations in Ireland. It was both practical and evocative, immediately establishing a sense of adventure and possibility while maintaining a strong aesthetic identity throughout. Congratulations to Tom Hiles and the MADS Stage Team.

Colour was used particularly effectively. Each of the central characters was associated with a distinct palette, with the lighting subtly reinforcing these choices during the leads' monologues. Whether intentional or not, I found myself appreciating the gradual fading of Roisin's purple as she succumbed further to Alzheimer's, while Oonagh's progression from pink to a richer red seemed to mirror her growing confidence following her divorce and subsequent adventures, including an unexpected romance with a younger lover. If this was indeed a deliberate choice, it was a wonderfully understated and intelligent piece of visual storytelling.

The production's themes clearly mattered to everyone involved. Questions of time passing, whether we have wasted our lives, whether it is ever too late to change, and the many faces of feminism all sit at the heart of the play. Rather than feeling didactic, however, these ideas emerge naturally through the characters' experiences and relationships, allowing the audience to reflect alongside them.

Technically, the production was strong. Lighting and sound choices were consistently well judged, supporting the emotional journey without overwhelming it. Thanks to Adam Hardy and Kathrin Jahnichen. The photographic projections, by Greg Nixon, were both entertaining and heartwarming, becoming increasingly meaningful as we grew to know the characters whose travels they chronicled.

Humour is gently woven throughout the piece, providing welcome levity. The comedy lands because it emerges organically from character, or circumstance, and the play's emotional core is all the stronger for it.

The cast demonstrate commitment, care and investment throughout. Steve Donnelly and James Robinson both take on multiple roles and deserve credit for endeavouring to create differentiated characterisations. Robinson's Fionntan was immediately likeable and bursting with energy, while his Ethan provided a delightful flourish later in the play. Donnelly's portrayal of Pat was especially poignant, delivered with genuine feeling.

Sophie Cooke and Rimi Bradford likewise take on numerous supporting roles. Cooke's scene as the nun was intriguingly heartbreaking, her matter-of-fact yet instinctive delivery holding the audience's attention throughout. Bradford's characters often provide comic relief, and she performs them with confidence, assurance and excellent comic timing. The perfectly judged delivery of the notably sweary opening lines for two of her characters drew some of the evening's biggest laughs.

At the centre of the production are Brigid Hemingway as Kate, Susan Sills as Oonagh and Kathryn Way as Roisin. Together they form a convincing and engaging trio, bouncing effortlessly off one another and creating a friendship that feels entirely authentic. Their care for one another appears natural and palpable both on and off stage, giving the production its emotional foundation. The Irish accents were handled mostly well throughout, with Hemingway in particular sounding remarkably authentic.

The monologues were a highlight of the evening. Each actor delivered theirs with confidence, clarity and emotional honesty, allowing us intimate access to the characters' hopes, fears and reflections.

The direction by Izzy Reid, assisted by Amy Leech, ties all these elements together superbly. The thoughtful handling of the play's themes, the cohesive visual design, the strong technical support and the ensemble's unified storytelling all speak to a clear and confident directorial vision. The result is an inspiring production that celebrates friendship, resilience and the possibility of new beginnings, regardless of age.

Yes, there were some opening night wobbles and nerves were running high at the start, but this MADS Theatre production told this story with warmth, humour, intelligence and heart. Well done to all involved.

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