You can’t help but be impressed by the parallel universe created in Distance From The Event, a rich dystopia full of gangsters, light trains and robotic murders. A simple set of four lighted panels that are wheeled seamlessly around the stage to both guide and enclose the actors have the remarkable effect of conjuring up crowded transport, futuristic doorways and grey beaches.
Best known for their playful and colourful sets and child-friendly puppets, Collapsing Horse have taken a distinct departure from their signature style in this production. Distance From The Event still has a strong engagement with fantasy and mystery, but this time through the lens of sci-fi and Irish Noir. The bleak, unsettling surroundings of the Tri-city area are interspersed with mournful dream sequences where a ghost taunts detective Melanie with the promise of answers.
The voices of this dystopia are genuine, the lighting and sound are incredibly engaging and create a truly creepy atmosphere in the Samuel Beckett Theatre. When it comes to the plot however, there are aspects that seem unfinished. Mel’s decision to take on a case concerning the disappearance of a colony in outer space seems to lend itself more to the great characterisation of the stuffy Department worker than to the overall plot. Quinn’s writing is full of elegance and witticisms but Distance From The Event doesn’t give itself the time to create a fully rounded narrative that satisfies the complexity and verbosity of its characters. Nonetheless, this is an incredible ambitious production that creates a unique and fascinating world. The desire to consume more of these villainous art collectors and vapid broads means the disappearance in outer space seems too removed from the experience. A more down-to-earth narrative arc might have served it much better.
