The Troubles, family trauma, and the tricky waters of forgiveness – Lies Where It Falls tackles heavy themes with the weight they deserve and the humanity we so often need. Ruairi Conaghan’s solo performance, currently at the cosy and unpretentious Finborough Theatre, is a raw, deeply personal exploration of grief, healing, and the stories we carry.
The play begins with Conaghan recounting his uncle’s murder by the IRA in 1974, a tragedy that ripples through his family and shapes his understanding of identity and legacy. Conaghan’s storytelling is magnetic – he isn’t just reciting events; he’s living them, moment by moment, in front of us. His ability to connect is extraordinary, seamlessly blending humour into the heartache and finding light even in the darkest corners. It’s a one-man show that feels anything but lonely – his voice carries an entire cast of memories, reflections, and ghosts.
There’s a quiet brilliance in Conaghan’s ability to keep us firmly in his corner, even as the play asks us to walk the tightrope of moral ambiguity.
But this isn’t just a personal story. It’s a cultural reckoning, too. The central conflict deepens as Conaghan reflects on his portrayal of Patrick Magee, the Brighton bomber. This role, a professional milestone, forces him to grapple with the humanity of a man responsible for so much destruction. How do you embody someone like Magee without letting their actions swallow your own sense of self? How do you hold space for empathy without excusing violence? These are the questions that echo through the theatre, leaving the audience as shaken as Conaghan himself.
The Finborough Theatre, with its intimate layout and no-nonsense charm, is the perfect stage for this kind of storytelling. The sparse design – just a performer and his words – leaves nowhere to hide, for either the actor or the audience. Every gesture, every pause is amplified, drawing us into the rawness of Conaghan’s world. It’s storytelling in its purest form, and it hits home. Hard.
If there’s a critique to be made, it’s that the pacing occasionally falters. The first half is tightly woven, propelling us through the unfolding drama, but the latter stages meander slightly as reflection takes over from action. Yet even here, Conaghan’s connection with the audience never wavers. His sincerity and vulnerability keep us invested, even when the narrative stretches a little thin.
Final Thoughts ★★★★
Would I recommend Lies Where It Falls? Absolutely. It’s rare to see a performer so open, so unguarded, as Ruairi Conaghan is in this piece. With his powerful storytelling and remarkable honesty, he lays bare the scars of his past and invites us to confront our own. It’s a moving, provocative, and deeply Queer reminder that even amidst the devastation of history, there’s room for reflection, compassion, and, perhaps, understanding.
Playing at the Finborough Theatre until 21 December 2024.
Disclaimer: A complimentary ticket was provided in return for an honest and unbiased review.
More Reading
- A Queer Cowboy in the City: Lonesome’s Gritty Tale of Queer Longing and Discovery
- All of Us Strangers: A Hauntingly Beautiful Exploration of What Could Have Been
- Bear Traps at The Golden Goose Theatre: A Quiet Look at Family Ties and Black Holes
- Buried Truths and Second Chances: Two Come Home Delivers a Heartfelt, Moving Reckoning
