Pan Pan presents Cascando, a deathmatch in the void between radio and poetry, words and music, voices and silence.
In Cascando, Beckett’s radio play first broadcast in 1963, the mysterious “opener” is afraid to open, but he must open, so he opens. The text comes to life in an installation event by Pan Pan, Ireland’s award-winning contemporary theatre company. This project is a rare opportunity to experience the play in a specially constructed environment and with audio technologies. After the international success of All That Fall and Embers, Pan Pan continues to bring a vibrant new energy to Beckett’s works for radio.
Cast: Andrew Bennett and Daniel Reardon
Director: Gavin Quinn
Set & Lighting Designer: Aedín Cosgrove
Sound Designer: Jimmy Eadie
Dramaturg: Nicholas Johnson
Assistant Director: Gráinne Hallahan
Painting by Richard Gorman
Photos by Ros Kavanagh
Please, note that there is no seating. Audience members walk through a specially constructed space.
“The effect: an uplifting sense of freedom, as well as a sense of foreboding. Lifted from the familiarity of‘normal vision and sound,’ one’s imagination and reason collide until there is a fusion between both.”
Sean Hillen, Examiner
“What are we to make of this beautiful but mysterious promenade, sparingly lit by Cosgrove to send light rippling along reflective surfaces. That’s the blessing of Beckett: like prayer, it’s what you believe that’s the thing.”
Chris McCormack, Broadway World Ireland
“Aedín Cosgrove’s lighting choices are spare and subtle but very effective, breathing eerie life into her set and often mingling with Jimmy Eadie’s intimate sound design at just the right time, creating moments of surreal, organic beauty and an atmosphere that feels otherworldly.”
Shane Larkin, No More Workhorse
“Aedín Cosgrove’s labyrinthine construction, curling around corridors of reflective black surfaces, give us ghostly reflections, where her pockets of light reveal shapes briefly, then wane into utter darkness. Look ahead or behind you and you’ll see an indistinguishable column of hooded figures, and the journey to the centre of the set feels more and more penitential. Not for the first time in Beckett, the words seem like a mordant joke on the audience: “we’re there . . . nearly . . . just a few more… It does achieve a near perfect equivalent with it [the play]. It’s how Beckett, the master manipulator of form, would have subverted immersive theatre.”
Peter Crawley, The Irish Times