Roddy Doyle’s The Snapper may have been written over thirty years ago, but Bardic Theatre’s Northern Ireland premiere proves its blend of razor-sharp comedy and family warmth still lands powerfully in 2025.
Set in 1987 Dublin, the story follows Sharon Rabbitte’s unexpected pregnancy and the explosion of gossip it causes in her community. In Doyle’s world, scandal doesn’t come from within the family — they absorb the news with a shrug and a joke — but from the neighbours, where judgement travels faster than light. It’s here the play feels both timeless and revealing: what once was a shocking headline in the 80s now feels like a tender comedy about resilience, love, and community spirit.
Clever, simple staging
One of the production’s strongest achievements was its staging. With a few clever shifts, the set transported us seamlessly from the Rabbitte family’s kitchen and bedrooms to the pub, supermarket, hospital, and back door. The moment when the family car transformed into a hospital bed was particularly brilliant — smart, funny, and effective. It gave the play a cinematic quality without ever cluttering the stage.
Nostalgic soundtrack & sharp humour
Adding to the atmosphere was a soundtrack steeped in 80s nostalgia, with familiar tracks playing throughout and anchoring the story firmly in its era. The music worked as a cultural time machine, pulling the audience straight back to the days when gossip travelled by word of mouth rather than WhatsApp.
The script sparkled with one-liners, and Bardic Theatre weren’t afraid to bring a modern wink to the humour. A particularly sharp Rolf Harris gag — very much their addition, not Doyle’s — drew huge laughs, landing with that perfect mix of cheekiness and hindsight. It was a reminder of how a clever production can respect the source material while also speaking knowingly to today’s audience.
Performances that shine
The cast were superb across the board. Sharon carried the story with strength and wit, while her father Desmond Rabbitte anchored it with warmth, humour, and understated emotion. The family’s interactions felt lived-in and authentic, and even the child actors impressed — funny, natural, and perfectly timed.
The “I’m pregnant” scene
Interestingly, the “I’m pregnant” moment was played quite flat, with little shock or hysteria. Some might have expected fireworks, but the stillness actually mirrors Doyle’s novel, where the Rabbitte family take the news with dry humour rather than outrage. The real drama lies not inside the home but in how the outside world reacts.
Mr Burgess and then vs now
The most uncomfortable part of the story remains Sharon’s connection to Mr Burgess, a much older man. In 1987, the dynamic was treated more casually. In 2025, audiences inevitably view it through a sharper, more critical lens. Bardic’s production doesn’t hammer the point, but the age gap lingers uncomfortably, reminding us how societal standards shift — and how Doyle deliberately left space for the audience to question.
Nostalgia and audience
The Lyric’s run sold out quickly, and the atmosphere was one of nostalgia. Judging by the audience, the average age was comfortably over 60, which makes sense — this was their world, their Ireland. But would a younger audience “get it”? Perhaps not in the same way. The humour, the gossip, the quiet defiance in Sharon’s “I’m havin’ it for me” land most deeply for those who remember when such a line would have raised eyebrows. Still, the laughs are universal, and the family dynamic is timeless.
Final thoughts
Bardic Theatre have done something special here: they’ve taken Doyle’s much-loved novel and film and staged it with intelligence, humour, and heart. The witty dialogue, the brilliant performances, the nostalgic soundtrack, and the ingenious staging make The Snapper as fresh and funny today as it was in the 80s.
It’s a hilarious, heartwarming production that captures the chaos and love of the Rabbitte family perfectly. A must-see — and a reminder to revisit Doyle’s films and books that still feel as sharp, funny, and true as ever.
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