Bhí conspóid mhór ag baint leis an (úrscéal) Lolita le Vladimir Nabokov nuair a (foilsigh) ar dtús é i 1955; thug léirmheastóir de chuid an Sunday Express, mar shampla, ‘the filthiest book I have ever read’ air agus dúirt gur ‘sheer unrestrained pornography’ a bhí ann. (cuir) go leor míshástachta in iúl chomh maith faoin dá scannán a bunaíodh ar an leabhar, go háirithe an chéad (ceann) le Stanley Kubrick i 1962. An rud is mó a ghoill ar go leor daoine ná gur cuireadh carachtar, fear meánaosta, os comhair (an pobal) a bhí i gcaidreamh collaí le cailín dhá bhliain déag, ach ba charachtar é a bhféadfadh bá a bheith ag na léitheoirí nó ag an lucht féachana leis.
There was great controversy over the novel Lolita by Vladimir Nabokov when it was first published in 1955; a reviewer for the Sunday Express, for example, called it ‘the filthiest book I have ever read’ and said that it was ‘sheer unrestrained pornography’. A great deal of discontent was expressed about the two films that were based on the book as well, especially the first one by Stanley Kubrick in 1962. The thing that bothered people most was that a character, a middle aged man, was presented to the public who was having a sexual relationship with a twelve year‑old girl, but he was a character that the reader or the audience could sympathise with.
De bharr (an chonspóid) go léir, tá éirim an scéil ar eolas ag roinnt mhaith daoine faoin am seo, agus rith sé liom roimh dhul chuig an leagan drámata seo leis an chomplacht Corn Exchange go bhféadfadh seo a bheith ina mhíbhuntáiste (mór).
As a result of all the controversy, most people know the gist of the story by now, and it occurred to me before going to this theatrical interpretation by the Corn Exchange company that this could be a big disadvantage.
Éiríonn le stiúrthóir an dráma, Annie Ryan, dul i ngleic leis an deacracht seo, áfach, tríd an dráma a dhéanamh sa stíl ar a dtugtar Commedia dell'Arte. Sa stíl áirithe seo déantar iarracht dul go croílár an scéil, é a chur ábhairín as a riocht agus é a chur i láthair, mar a deirtear san ábhar bolscaireachta, ‘in a show of grotesque fun and heartfelt intensity’. Bíonn béim mhór ar an mhím agus bíonn an seit lom agus simplí. Lena chois sin, bíonn aghaidh (na haisteoirí) péinteáilte.
The play’s director, Annie Ryan, succeeds in coming to grips with this difficulty, however, through using a style called Commedia dell'Arte. An attempt is made in this particular style to get to the heart of the story, to put it a little out sync and present it, as the publicity material says, ‘in a show of grotesque fun and heartfelt intensity’. There is great emphasis on mime and the set is bare and simple. Furthermore, the actors’ faces are painted.
Sa chéad radharc, feiceann muid scoláire Eorpach, Humbert (Andrew Bennett), ag cuardach lóistín i mbaile beag i New England. Tá bean an tí, an bhaintreach Mrs Haze (Clara Simpson), ag iarraidh cur ina luí air fanacht ina teach siúd, ach níl seisean róthógtha leis mar lóistín. Tagann sé ar mhalairt aigne go tobann, áfach, nuair a fheiceann sé Delores (Ruth Negga), iníon óg Mrs Haze, ag sú (an ghrian) ina culaith snámha. Bogann sé isteach agus éiríonn a dhúil sa (déagóir) agus an fonn craicinn atá air níos láidre le himeacht aimsire.
In the first scene, we see a European scholar, Humbert (Andrew Bennett), looking for accommodation in a small town in New England. The proprietor, the widow Mrs Haze (Clara Simpson), is trying to convince him to stay in her house, but he is not too keen on the accommodation. But he suddenly changes his mind, however, when he sees Delores (Ruth Negga), Mrs Haze’s young daughter, sunbathing in her swimsuit. He moves in and his interest in the teenager along with his sexual desire grows as time passes.
Cé go gcuireann Mrs Haze déistin ar Humbert, cinneann sé ar í a phósadh chun go mbeidh deis aige bheith cóngarach do Delores, nó Lolita mar a thugann sé uirthi, go fadtéarmach. Nuair a fhaigheann an mháthair bás tobann tragóideach, bailíonn Humbert an cailín óg ón champa ina bhfuil sí ag caitheamh (an samhradh) agus imíonn siad ar thuras fada trasna na tíre. Le linn an (turas) seo cuireann Humbert in iúl do Delores gur (maraigh) a máthair i dtimpiste agus tagann cor eile sa scéal nuair a tharlaíonn caidreamh collaí eatarthu den chéad uair.
Although Mrs Haze repulses Humbert, he decides to marry her in order to be close to Delores, or Lolita as he calls her, in the long‑term. When the mother dies suddenly and tragically, Humbert collects the young girl from camp where she is spending the summer and they embark on a long journey across the country. During the journey Humber tells Delores that her mother was killed in an accident and the story takes another twist when they have sex for the first time.
Tá fear an‑aisteach darb ainm Quilty (David Pearse) ag leanúint (an bheirt), rud a mhéadaíonn ar míshuaimhneas Humbert. An éireoidh le Humbert agus Delores éalú uaidh nó an (cuir) deireadh lena gcumann rúnda, míchéillí? An bhfanfaidh sí leis nó an dtabharfaidh sí na cosa léi?
There is a very strange man by the name of Quilty (David Pearse) following the two which adds to Humbert’s unease. Will Humbert and Delores succeed in escaping him or will their secret, senseless relationship come to an end? Will she stay with him or will she run away?
Bhí go leor conspóide ann roimh an léiriú seo agus daoine nach bhfaca é á (cáin) agus ag rá nár cheart go (téigh) ar aghaidh leis i bhfianaise an mhéid a tharla in Soham an samhradh seo. Níl aon rud graosta faoin dráma, áfach. Cuireann sé an caidreamh idir Humbert agus an cailín óg i láthair mar rud atá greannmhar ach tragóideach ag an am chéanna, agus leagann sé béim ar leochaileacht Delores, go háirithe tar éis (bás) a máthar.
There was a lot of controversy before this production and people who did not see it condemned it saying that it should not go ahead in light of what happened in Soham this summer. There is nothing vulgar about the play, however. It shows the relationship between Humbert and the young girl as something comical and tragic at the same time, and it emphasises Delores’s vulnerability, especially after the death of her mother.
Tá na haisteoirí ar fheabhas ar fad, go háirithe Andrew Bennet i ról Humbert. Éiríonn leis oiread a chur in iúl lena gheáitsí agus leis an síorathrú dreacha. Tá Ruth Negga thar barr chomh maith; cé gur bean sna fichidí í, éiríonn léi aithris a dhéanamh ar iompar agus ar gheáitsí cailín dhá bhliain déag ar dhóigh an‑chumasach.
The actors are wonderful, especially Andrew Bennet as Humbert. He succeeds in expressing so much with his gestures and his ever‑changing expressions. Ruth Negga is excellent as well; although she is a woman in her twenties, she manages to imitate the behaviour and gestures of a twelve year‑old girl in a very effective manner.
Tá an ceol beo a sheinntear tríd síos agus atá i dtiúin le gluaiseachtaí na n‑aisteoirí an‑éifeachtach den chuid is mó, cé go (éirigh) fuaim na ndrumaí rud beag tuirsiúil tar éis tamaill.
The live music which is played throughout and which is in tune with the actors’ movements is very effective for the most part, although the sound of the drums gets a bit tiresome after a while.
Tá radharcanna áirithe sa dráma a théann i gcion go láidir ar an lucht féachana, go háirithe an ceann deireanach roimh an sos nuair a éiríonn an t‑atmaisféar trom, gruama. Bhraith mé, áfach, gur chaill an dráma rud beag fuinnimh sa dara leath.
There are certain scenes in the play that have a great impact on the audience, especially the last one before the intermission when the atmosphere becomes heavy and morose. I felt, however, that the play lost some of its energy in the second half.
In ainneoin (an locht) sin, is dráma den scoth é seo agus éiríonn le hAnnie Ryan agus Corn Exchange an scéal a chur i láthair ar shlí thar a bheith úr agus taitneamhach.
Despite this weakness, this is a great play and Annie Ryan and Corn Exchange manage to present the story ina way that is fresh and enjoyable.