Seven Drunken Nights The Story Of The Dubliners – 20 March 2025, Sheffield City Hall
Review by Peter Taranaski.
Barrelling it’s way through the known world, “Seven Drunken Nights” is a musical from any Emerald Isle fans’ wildest dreams. As synonymous with Irish Folk Music as Guinness is to Irish beer, The Dubliners are entwinned in Irish culture like a fine Emerald strand woven into the tapestry of late 60s folk. Much like this musical now, they toured internationally, released countless albums and influenced people wherever their band touched be it Europe and even reached the US as guests on the Ed Sullivan Show. They went for 50 years between 1962 and 2012 with an array of line-ups and members, and most well known for frontmen Ronnie Drew and the English-hopping Luke Kelly who was discovering Irish music away from home. The flame has continued to burn with this show commencing in 2017 and now, in 2025, the tour is breaking it’s own records by being on the road for 42 weeks and performing at 300 shows and spreading this Irish Gospel far and wide. We managed to catch the show when on it’s Sheffield-leg of the show.
The show walks with us (in a rather side-to-side motion) as an audience watching the beginnings and rise of extremely influential Irish Folk Band, The Dubliners (to start with the “Ronnie Ballad Group”). The scene is all set with the bar, an old-school, hearty place where practically every inch is covered in framed pictures of everything under the sun. It is an old-looking set indeed, well-dressed for the 60s, and also similar to those old wooden glories I would frequent with Walkers crisps in the late 80s. The actors all sit and straight away the crowd is dragged into proceedings with the hospitality and a knowing wink that is quintessential for the beloved group. Highlights of the 50 year career of the group appear throughout, though it all kicks off with Ronnie Drew returning from Spain and wanting to share his love of the flamenco guitar with others. When later meeting Luke Kelly, Barney McKenna, and Ciaran Bourke they would perform at O’Donoghue’s Pub in Dublin and the spirit of these traditional songs would rise, as would they. An early moment of hilarity is their description of Dublin, described as a city where, “If you played in the wrong place you would be out on your a… ear”. What of the musical now?
It is a bright, stomping and evocative kind of musical. If you like Irish folk music, this is positively a sardine can of recognisable tunes. The Irish playbook here is stuffed to the gills with gems in the spirit of generosity. Opening such a can of this fish is bound to explode into dancing and merriment in the streets. Everyone in the audience has their favourite and were unlikely to go without the striking solemnity of “Raglan Road”, the recognisable cheek of “Tell My Ma” or the catchy murder ballad “Weile Weile Waile”. The show is structured in such a way that it leans more towards the music in it’s purest form rather than trying to always shoe-horn it into events happening in the plot. There are narrative beats though with some touching and sad moments, but rightly so for the play, the audience is treated as an honoured guest in a Dublin pub (and other places), and it is a soulful spirit of a gig that might have been seen back in the day.
The fire of the “Hot Asphelt” would not work without the musicians of course. The cast comprises of well-versed and talented vocalist Shane Morgan (with extensive stage experience), writing award winner Eoghan Burke, world class fiddle player Aidan Bruke, and ex-National Theatre Aidan Keene. Among them there is Luc Power with a prominent role of the Nephew of the lead narrator. Charismatic and inhabiting the soul of a young Dubliners’ enthusiast, his interest and palpable joy could be seen. We also have classical guitar royalty, Peet Jackson, eclectic instrumentalist Conor Kenny, and supporting stage manager Dylan Graham (who I think might have been the barman). They all shine and keep pace, and have their moments to lead or quip in good faith with the lead narrator. As the musical goes on, the performers share with us the value of the Dubliners’ influence to them and their lives. Finally it is all held together by Ged Graham, the lead narrator who jumps in on several occasions with vocals and guitar. Much like the potent scent at the fore of beautiful Irish Rye, Graham is not only the “sage” in the scenes, but also has his fair bit of comedy be it his exasperating “Ja-sus” at the audience’s participation or his story about his treasured tin whistle. His relatability and friendly demeanour strikes a strong chord with the audience and brings a leading voice closer to the time of the Dubliners themselves.
There are no electric instruments in sight, but nevertheless the stage is alive with flowing energy. Like several fine Irish jigs, it travels at pace from one song to the other with a sprinkling of their tours and successes of the band along the way. “Seven Drunken Nights” is a joyful romp which switches between story and song enough to keep things moving in the right directions. It comes down to feeling, and this show captures the essence of this group and music without travelling down a straying path. With it’s heart firmly planted in the group and music, it comes with our recommendation.