Theatre review: Ballyturk, Tron, Glasgow

In the long and rich history of Irish absurdism, there have been two main strands. The first, pioneered by James Joyce and Flann O’Brien, is the narrative that brings a surreal and wildly inventive perspective to Irish places and communities, real or fictional; the second, perfected by Beckett, is the stripped-down minimalism that takes that voice and consciousness into abstract spaces on the very edge of existence. And what is striking about the best work of Enda Walsh – perhaps the greatest inheritor of that tradition writing today – is how powerfully he combines those two strands and moves them forward into our time; not least in his recent play Ballyturk, first seen in Galway in 2014.