Seated at a circular table covered in a mound of dried peat, writer and performer Luke Casserly might be presiding over an arcane ritual. When he holds a handful of peat in his hand and passes it to the small audience around the table, the initial air of solemnity dissolves into quizzical laughter.

A soundscape of birdsong and wind evokes the ancient landscape of bogs in the Irish midlands, where Casserly grew up. Part essay, part dialogue, this playful, participatory performance involves touch, sound, taste – and especially the smells of soil, moss and peat smoke, later presented as a perfume created by olfactory artist Joan Woods; a message in a bottle.

With images of bogs projected on to Casserly’s white tunic making little impact in the bright evening light, there is a homemade, work-in-progress feel to the work, artfully artless. A co-production between the Abbey theatre and Solas Nua in Washington DC, it has toured widely in the US and Canada since its first outing in 2023, reflecting a current artistic focus on Ireland’s 10,000-year-old bogs.

Returning to live in County Longford during the Covid-19 pandemic, Casserly walked the bogs, seeing them in a new light, he tells us, as their traditional centrality to the community was about to change. No longer industrially harvested for turf and to fuel electric power stations, the Irish bogs are being restored as a protected, bio-diverse habitat capturing carbon from the atmosphere – and in some cases, being replaced by wind farms.

In a re-imagined conversation with his father who was employed in peat harvesting, Casserly asks what is lost, culturally and emotionally, in this huge transition. Its immediate impact, he suggests, is a kind of grief. Throughout its 50-minute duration, this inventive, deceptively simple performance lightly holds a balance between an ecological meditation and an inquiry into cultural memory.