We are wrong.  There are family secrets previously unknown to Matthew, one about his father and one, Ray’s heartfelt revelation about himself.  The two disagree on how to present the Richard III play with Ray, whose dramatic judgement we have no cause to rely on, advocating that Matthew should use his Northern Irish accent. 

Ray asks Matthew to rehearse in front of him.   Matthew declines.  Ray says, “How are you gonna to do it in front of all them bigwigs at RADAR?”  The badinage between the two is a joy to listen to and the writing subtly reveals larger issues about Northern Irish identity and the history of the Troubles.  “Everyone’s pretending!” says Ray about the divide between Catholics and Protestants in Belfast, after the Peace was signed.

Ceci Calf’s set has the playing area dividing the audience and at the edges, two large curved boards, covered with gravel, mirroring each other.  in between is a small kitchen with table and chairs.  

The performances totally convince, Matthew Blaney as Matthew angry and edgy for much of the play and Stephen Kennedy as Ray, kindly and bumbling but with something to offer his fatherless nephew. 

We leave the play wishing Matthew all the best for his audition and knowing that this discussion has laid foundations for Ray and Matthew to be closer to each other and we have learnt so much about the difference between being British and Irish.