"Cúirt An Mhéan Oíche" in the original, "The Midnight Court" to those not blessed with an understanding of the Irish tongue, is a bold jeu d'esprit in which the language of saints and scholars is booted up the backside with Father Jack alacrity.

The original of Brian Merriman has had several translators, including Frank O'Connor, though the version of this production by David Marcus seems to owe a debt to that of Ciaran Carson, traditional arts officer for Northern Ireland (it would be hard to imagine a more perfect name for a traditional arts officer in Northern Ireland than Ciaran Carson), but in any case speeds along delightfully.

Sean Tyrell's musical settings are drawn from a wide range of styles, from the traditional to swing band, and includes a wonderful moment when "The Sash" encounters "Viva Espania." "The Midnight Court" itself is a tremendous snoot-cock at antiquarian pietas, a complaint by the women of Ireland about the lack of lustre among their men-folk in the bedroom department.

Cheeky, bawdy and occasionally touching by turns, its theme and style sets Merriman apart from bards such as Aodhagán O Rathaille and Dáibhí O Bruadair, lamenting the past but seemingly unconcerned with finding a future for the language in which they wrote. Carson, as a musician as well as poet, is well able to imitate the phrasing of traditional tunes in his version, and a similar technique is used here to considerable effect. A range of instruments adds to the variety, including more citterns than this reviewer has heard employed together (or rather consecutively) in quite some time.

The poem's arguments, for genuinely lusty women against crabbed and timid males, for procreation and against priestly celibacy caused several versions (in English) to be banned by the Irish government censor as late as 1945, while pious republicans railed against it, certain that Anglo-Saxon influence had corrupted the author - although Eamonn De Valera was supposedly a fan.

The paintings which form the set, selected and presented by Pauline Bewick, are a joy, and it's good to discover Pete Ashton illuminiting in Edinburgh again. The company are owed thanks for bringing this neglected classic to new and wider audiences.

Times: Aug 13-23 at 20.25

Copyright Bill Dunlop, August 2008

Published on EdinburghGuide.com August 2008