THE PLAYBOY OF THE WESTERN WORLD. To 28 September.
Edinburgh
THE PLAYBOY OF THE WESTERN WORLD
by J.M. Synge
Royal Lyceum Theatre To 28 September 2002
Tue-Sat 7.45pm Mat 25, 28 September 2.30pm
BSL Signed 24 September
Runs 2hr 10min One interval
TICKETS 0131 248 4848
www.lyceum.org.uk
Review Timothy Ramsden 22 September
Cownie, one of Scotland's finest actors, moves into the top league of its directors with this lively, intelligent production. In the Lyceum programme each character's social status is given - publican Michael James, small farmers Philly and Jimmy, etc. It's a sign of this production's strength. These country people have a place in a wider society - within a few minutes we hear of peelers, tinkers, mlilitia, Catholic clergy and northern 'Holy Luthers', opening out to the Boer War.
When self-professed patricide Christy arrives, his speedy appointment as potboy is soon explained by the immediate joy with which Michael James and associates speed off to free drinks at Widow Cassidy's wake now Michael's daughter Pegeen's no longer to be left alone.
Meg Fraser's done fine work in Dundee's repertory company and she looks set to do even better here. Her Pegeen's a heroine but not a softie. She'll shout with the loudest but there's no doubting the depth of her feelings. From the start, when a fondness creeps into her voice as she lists marriage items for purchase to be followed by an obstinate rejection of the cowardly Shawn she's set to wed, this is a person in a thousand.
She's still so at the end as she exercises the bellows, heating coals to burn the Playboy who's disappointed her. It's a viciousness born of her own hurt: this deep-feeling young woman out in the sticks can be fearful, loving or sour. When Christy's gone she passes through anger to bitter sorrow. Even her father - who's recently announced a drunken blessing on the proposed marriage to Christy - has the sober sense to restrain miserable Shawn from interrupting her tears.
Fraser and Cownie delineate Pegeen and Christy's relation in detail - as in the moment Christry proposes marriage, leading to a sudden restraint on her part which shows no lessening of affection.
At first, Patrick Moy's Christy might seem too content just to sit and simper. But his longer-term strategy for the character emerges as he grows into the role his reputation's created for him. Eventually, pushed by the father whose head refuses to split open, he crouches at Pegeen's feet, only to rise triumphant to repeat the crime that was so romantic in story, but not when enacted in full view.
With a strong, commanding Widow from Carol Ann Crawford, and plenty of loving details - Old Mahon's flinch as Pegeen touches his wound, and her wiping the blood on her apron, the giggling outside from the village girls Pegeen's just seen off in silence - this is a rich revival.
Its only drawback lies in the patches where the dialogue ceases to be characters' speech and becomes actors' speaking poetry: it is poetic but it's also patterns of speech that must seem natural to the speakers.
But this deeply-felt, intelligent revival makes an excellent start to Kenny Ireland's final Royal Lyceum season.
Christy Mahon: Patrick Moy
Old Mahon: Mark McDonnell
Michael James: Gareth Thomas
Pegeen Mike: Meg Fraser
Shawn Keogh: Steven McNicoll
Philly O' Cullen: Matt Costello
Jimmy Farrell: Ronnie Simon
Widow Quin: Carol Ann Crawford
Sara Tansey: Gemma Burns
Susan Brady: Louise bolton
Honor Blake: Hazel Darwin Edwards
Director: Tony Cownie
Designer: Geoff Rose
Lighting: Chris Davey
Movement: Malcolm Shields
Dialect coach: Ros Steen
2002-09-22 18:59:07