Review: THE PLAYBOY OF THE WESTERN WORLD, National Theatre
Photo credit: Marc Brenner
Caitríona McLaughlin’s direction of this production at the National Theatre is in many ways deeply impressive. It is so, even in form: J.M. Synge’s Irish state of the nation play, played by a company of entirely Irish actors (some of whom pivot from their renowned work on screen) at the National Theatre of Great Britain.
The Playboy of the Western World’s initial production resulted in riots when first performed in 1907 at Dublin’s Abbey Theatre as the play’s depictions of life in County Mayo and the Irish more generally, is not particularly favourable. Through the lens of today, the play captures the realities of early 20th century rural life well, and the themes of hysteria and lying adapt well to today’s society of misinformation and conspiracy theories. Despite often dated and hilarious farce lightening the mood, this production pays considerable consideration to our Janus-level double standards and makes one ask about the human condition.
J.M. Synge’s use of Hiberno-English (a dialect spoken during his lifetime); where English words are structured using the syntax of the Irish language, works well to drum up the comedy of the play and permits an audience to laugh at often brutal dialogue or actions. Some of J.M. Synge’s language is so creative and meandering that when partnered with masterful drunk acting, narrative is sometimes drowned in the poitin which is frustrating.
Irrespective of the occasional lost phrase, the performance of the entire cast is very strong. Nicola Coughlan is powerful as Pegeen Mike, showing flashes of vulnerability that culminate in affronting the audience by the end of the play. Lorcan Cranitch also succeeds in portraying the drunken Michael Flaherty so effectively that by curtain call, it is unbelievable to see him sober. Éanna Hardwicke and Siobhán McSweeney also disappear into their characters, and with the wider cast, they all fortify the play’s rural world.
Katie Davenport’s set and costume design is also masterful. Traditional Irish garments are woven with specific motifs and signifiers of each character’s stories and come together with a set that effectively conveys a friendly while simultaneously cold slice of the world. This creates a world that is enveloping and equally unsettling, bolstering the play’s various interpretations.
It is a rare feat to create such a real world on stage. It is rarer again to have an older play successfully comment on today. With certain scenes’ dialogue being clearer, this production would be astounding.
**** Four stars
Reviewed by: Jeff Mostyn
