It’s Cheltenham week, and canny Glass Mask have scheduled a horse-racing show — in theatre, as in jump racing, timing is key.
va O’Connor’s new play is about a retired jockey, nicknamed the Holy Child for his habit of blessing himself after a win. His star horse, King, disappeared shortly before Cheltenham one year, ending the jockey’s career. Echoes of the Shergar story ring loudly. The narrative hook of the play is the revelation of what happened to the missing horse.
The jockey suffers from bulimia, induced by the necessity for him to keep his weight controlled to compete in his sport. This is a great subject matter, and since horse racing is so male dominated, it’s not a story we hear much about.
We first meet the Holy Child as he visits his father in a nursing home. It becomes clear that his relationship with the now dementia-suffering dad was difficult. His eating disorder is at a life-threatening stage and when he has a Mars Bar binge, it is followed by a heart attack.
In a state of delirium, he encounters his horse, reincarnated as a glittery-jacketed game-show host. Seán Basil Crawford is low key and persuasive as the jockey; Jarlath Tivnan’s comic gifts are to the fore as King, with the occasional whinny and snuffle; a beard gives him a horsey look. Director Dominic O’Brien emphasises the fantastical aspects with good results. The play runs to just over an hour and the café space is well used.
O’Connor’s writing is never quite equal to the quality of her ideas. There is a strange reliance on the f-word, without any discernible dramatic impact. The idea of the reincarnated horse is excellent, and the delirium setting offers great theatrical possibilities, but the game-show aspect feels like a contrived exposition device.
Whilst the jockey’s psychological problems are very clearly described, there needs to be more depth and subtlety in his story. The show has some fine set pieces, including an appearance on the Late Late Show with Pat Kenny, but overall, the race has been run but not won.