A play about preparing for a play must have seemed a good idea when playwright Annie Baker sat down at the keyboard — it seems like a good idea now, when I look at the words — but something didn’t gel. I left the theater grateful to skilled actors for making a limp script stand as long and as firmly as it did.
It's not the Dublin you’d find today, or even the Dublin of The Troubles. In David Brendan Hopes’ The Beautiful Johanna, Dublin is an apocalyptic nightmare, riddled by bomb blasts, machine gun bursts, and — perhaps most frightening of all — fire. Yet the subject of the play is neither horror nor hell. It’s love.
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