The PLAYBOY OF THE WESTERN WORLD. To 29 November.
Manchester
THE PLAYBOY OF THE WESTERN WORLD
by J.M. Synge
Royal Exchange Theatre To 29 November 2003
Mon-Fri 7.30pm Sat 8pm Mat Wed 2.30pm and Sat 4pm
Runs 2hr 25min One interval
TICKETS: 0161 833 9833
boxoffice@royalexchange.co.uk
Review: Timothy Ramsden 22 November
Physically energetic, vocally dull revival.A black-clad figure sits hunched by the peat fire on Conor Murphy's surprisingly cosy, domestic inn-setting. She seems an expression of loneliness, but within a minute we know Mairead McKinley's daughter of the inn is a resilient person, as she mouths the words she slowly but not ignorantly writes in her father's name. It's an order for supplies, the day's routine in a life about to be interrupted by the extraordinary.
The adventure of Pegeen, Christy and the Widow Quin has a galloping vivacity in Greg Hersov's production. Pegeen here is no idealised city-actress idea of a country maiden. She works to her finger-tips, and she fights for her man as she would for a market-stall bargain. She's as decided in rejecting her intended, the milksop Shawn Keogh.
That is, Shawn, Pegeen's da and everyone around intends she'll marry him. And, as her dismay at the marriage documentation coming through shows, this isn't an easy hurdle of social expectation for a young woman to leap.
Eileen Pollock's widow is a suitable contrast, age and experience showing in authority with the local girls and a quick-thinking inventiveness that seems instinctive.
These young women's sudden irruption with presents for the instant hero who's done something exciting - murdered his father, for goodness' sake, really disturbing social norms, and not struck down for it yet - is vividly played. Claire Lamont, especially, makes a strong impression for Sara Tansey - her initial expression, the suspicious country reception for anything new, turning to wild excitement as she leaps on the inn counter and faces the returning Pegeen from there.
It's probably as necessary nowadays to have Irish actors in British productions of Playboy as it is to have a Black actor play Othello. Surprisingly, this cast gave an initial impression of trying the accent from outside: a tendency to monotony in vocal expression, to finding one point per sentence to 'do the voice'.
Overmuch 'beseeching' too; too much seeking an undefined effect, too little conversation. It afflicts Michael Colgan's Christy; his limited vocal expression limits the character's development, despite a firm impression made by his early nervousness and withdrawal - something that physically justifies his later pride and importance.
So with his da. Niall O'Brien holds a finger to his head on each entry - no wonder, for one who's walked near on two weeks with a battered skull. But, once on, there's no sense of pain as voice and head movement alike have a free vigour.
The final departure of father and son is filled with pride, making it the less likely father and son would - as here - leave hat and shoes respectively behind.
Such details suggest the flavour of Mayo reality's missing from a stage-bound production. They become noticeable when reflecting larger matters. If only the rural grain of Michael James Flaherty's cronies (though the innkeeper himself somewhat overdoes the drunken return from Kate Cassidy's wake) were spread through the whole production.
Oengus Macnamara and Denis Quilligan are the spirit of the lonesome west, watchful suspicion and mocking merriment, with cruel streaks never far behind a sociable- in Philly's case barely sociable - front.
Pegeen Mike: Mairead McKinley
Shawn Keogh: John Paul Connolly
Michael James Flaherty: Alan Devlin
Philly Cullen: Oengus Macnamara
Jimmy Farrell: Denis Quilligan
Christy Mahon: Michael Colgan
Widow Quin: Eileen Pollock
Susan Brady: Orla Fitzgerald
Honor Blake: Sarah Corbett
Sara Tansey: Claire Lamont
Old Mahon: Niall O'Brien
Director: Greg Hersov
Designer: Conor Murphy
Lighting: Bruno Poet
Sound: Steve Brown
Dialect coach: Polly Moussoulides
Fight director: Renny Krupinski
2003-11-23 11:54:00