Solas Nua’s double bill now playing at Eaton House brings “new light” to Irish storytelling with two contrasting performances: Brú Theatre’s Ar Ais Arís and Murmuration’s Summertime. Although both seek to explore themes of connection and disconnection, their approaches underscore the potential and limitations of technology in theater. Ar Ais Arís, directed by James Riordan, presents itself as a virtual reality (VR) journey that promises to capture Irish heritage, displacement, and memory in a visceral way. However, despite this ambition, the VR experience feels disappointingly limited and left me more distanced than immersed. As someone who believes in the potential of VR when truly immersive — with high-resolution visuals and clear, engaging actors — this experience felt lacking. Imagine if Frozen at Olney Theatre were transformed into VR with stunning clarity; the experience would offer intimacy and immersion, granting all audience members, regardless of seating, a premium experience. However, in Ar Ais Arís, the 180-degree view offers only a limited visual range. The grainy pixels and narrow field of vision reduce what should be a multi-dimensional experience into something that could easily be projected onto a conventional screen without sacrificing much impact. Why choose VR if it keeps the audience at arm’s length? Why offer the Irish language without VR subtitles, locking viewers out of meaning? Brú Theatre’s ‘Ar Ais Arís.’ Photo by Ryan Maxwell Photography. Despite a resonant theme, Ar Ais Arís feels more like a curiosity meant to be admired from afar. The recurring presence and symbolism of water, referencing the journey of Irish emigrants to the Americas via ship, intersects with darker histories of forced migration. Roughly 12.5 million Africans were forcibly displaced through these same waters during the transatlantic slave trade — a legacy of trauma carried across centuries. This inescapable resonance made the story of Ar Ais Arís feel limited, failing to garner my sympathy as it narrowly focused on one narrative of Irish emigration without engaging the broader, shared history of displacement — including Ireland’s role, whether as ancestral perpetrators or historical bystanders in forced migrations across those same waters. Acknowledging these layers could have grounded Ar Ais Arís in a more inclusive narrative of resilience, one that connects us all. In contrast, Summertime, directed by John King and written by James Elliott, offers a compelling live performance enhanced through headphones. It is a refreshingly intimate and immersive take on the romance genre, inviting the audience into the fractured relationship of Stash (played by Rebecca Ballinger), a “barmaid,” and Steve (played by Finbarr Doyle), her boyfriend. The production’s strength lay in its ability to mirror the nuances of real-life relationships. Initially, the actors’ synchronized movements and dialogue reflected harmony, which gradually unraveled into miscommunication and tension. This progression was masterfully supported by Jenny O’Malley’s dynamic sound design and innovative use of binaural audio, allowing audiences to hear Stash’s voice in one ear and Steve’s in the other as they talk over each other. As we struggle to hear them, they no doubt cannot hear each other out — mimicking the confusion and frustration of real-life communication breakdowns, as if each partner is on a completely different frequency, unable to find common ground. Here, O’Malley breathes new life into the familiar themes of love, miscommunication, and reconciliation, utilizing the medium in a way that truly enhances storytelling. Rebecca Ballinger and Finbarr Doyle in Murmuration’s ‘Summertime.’ Photo by Ryan Maxwell Photography. Adding to this intimacy, the actors’ physical presence — their movements around the room, a passing glance, or shared eye contact — invites us deeper into their world. This close engagement was perhaps the goal of Ar Ais Arís as well, but here it’s achieved through human connection rather than spectacle. Summertime proves that connection need not rely on technology alone but on the raw, emotional storytelling that lets us resonate with universal themes. Together, these productions show contrasting approaches to connection and disconnection. Ar Ais Arís attempts to bring us closer through VR but is hampered by its technical limitations and unaddressed historical layers. Meanwhile, Summertime strips back, using mostly sound and presence to fully immerse us in its emotional landscape. Solas Nua’s double bill reminds us that technology can either strengthen or weaken theater’s power to connect with its audience. Producers need to choose wisely. Running Time: Approximately 60 minutes with intermission. Murmuration’s Summertime and Brú Theatre’s Ar Ais Arís run through November 17, 2024, on Thursdays through Sundays at Eaton House, 1201 K St NW, Washington, DC. For tickets ($45, with limited $10 options for select performances) and further information, visit Solas Nua’s website. SEE ALSO: Solas Nua to present double bill of immersive new wave theater (news story, September 30, 2024)