Marina Carr was brought up in County Offaly. A graduate of University College Dublin, she has written extensively for the theatre. She has taught at Villanova, Princeton, and currently teaches in the School of English, Dublin City University. Awards include the Susan Smith Blackburn Prize, the Macaulay Fellowship, the E. M. Forster Prize from the American Academy of Arts and Letters, and the Wyndham Campbell Prize. She lives in Dublin with her husband and four children.
Can a dream be cheating? A bit too surrealist for my taste, but I can appretiate the effort. Some dialogues are just incongruent and the characters are all a mess, although this last detail feels quite nice, to be honest. There are some lessons to be learnt by reading it, but I'm not in the right head space at this moment to do so.
There's something exhilarating about the first act of Marina Carr's "Marble," suggesting it might be the latest in a line of electric dramas about dysfunctional hetero couples a la "Look Back in Anger," "Who's Afraid of Virginia Woolf." Yes, it's that good. For awhile. For Carr has crafted a wild ride about two couples whose lives are derailed when one husband and the other's wife have mirroring dreams of a shared, extramarital affair. Come Act II, however, there's something about the brandy and the cigars, the women who are strictly housewives to businessmen, the bourgeois ennui, that feels out painfully of date. More disappointing still, the intrusive dreamworld ends up leading us to a shopworn reality short on surprises: Nora from "A Doll's House" will leave her children (again); same for the discontented dad in the other household. Maybe Carr's long final (meaty? wordy?) monologues play better onstage than they read on the page, but after the thrillingly topsy-turvy reality of Act I, I was bummed that Carr's line of dominos toppled in such a familiar pattern once the first one had finally tipped over.