THE BEAUTY QUEEN OF LEENANE
Martin McDonagh’s rural drama is a texturally rich story steeped in Irish theatrical tradition and woven with, despite being written and performed in English, that luscious Irish way of speaking. There are plenty of threads to this tale too that weave around the core of the story, isolation, poverty, faith, prejudice and innocence too. But at the heart is the story of a mother and daughter, bound by circumstance, and selfishness, in a totally disfunctional and ultimately tragic relationship.
Southwick Players have taken on this complex and word led drama and under the assured direction of Nettie Sheridan pulled it off. And by word led I refer to that fact that there is very little action as such, the story driven forward by the dialogue and that dependant on some confident acting. In this she has been blessed with a cast that really deliver this script beautifully.
Whether any of the cast possess any Irish heritage or not they embrace the accent in a way that is simultaneously convincing and yet still penetrable for the Anglo Saxon ear, and when the script is so well wrought this is pretty essential. I wanted to hear and absorb every word and I certainly could. As always, I will refrain from telling the story in any of my reviews, who wants to read a spoiler?
At the centre of the play are a mother and daughter. Mother Mag Folan is played by Debbie Creissen, a warts and all depiction of a bitter and difficult old lady, a performance that for anyone living with an elderly parent is deeply discomforting and real. She captures the grim realities of aging and becoming dependent or indeed simply needy. She rocks in a chair or shuffles around the set, grumbling and moaning, nothing is right, tantrumming and sniping, bitter and conniving. It is distressingly real.
Daughter Maureen played by Jacqueline Jordan is tired, exploited, frustrated and angry, she’s had enough but sees no way out. This is her future, trapped in a seemingly loveless world by her ungrateful mother and abandoned by siblings who do not accept any responsibility. It’s played out so gently by Jordan, the anger contained, the moments of joy so real, and then… enough said!
Into their lives are two men, brothers Ray and Pato. Ray is the younger of the two and played by Jimmy Schofield. Ray is a naive young man, not exactly simple but not the sharpest knife in the drawer. His twitchy movements and delivery of the lines are very real and his job in the play is to facilitate the core of the story, laying the foundations of the narrative and this he executes with innocent charm. He is perhaps a little young in comparison to his older brother, some 20 years or so maybe, but not unbelievably so and between him and the director they pull it off.
Pato Dooley is the older brother who is returning for a party having escaped the poverty of rural Ireland to unhappily work on building sites in England. He’s not a happy man but he has lashings of charm. Guy Steddon is terrific in the role, solid and totally believable and in the act two opening monologue he truly shines, it’s a fantastic piece of writing that he delivers with real heart, moving stuff.
The whole is played on a good set, with some delightful detailing, a blue gas flame under a pan, a glowing peat fire in the range, little things that work well, although the stone wallpaper sits clumsily under the Barn Theatre’s flint proscenium arch. On the opening night a few sound issues rendered the dialogue a little lost at moments, things easily remedied of course. I did love though that the room was filled with the comforting aroma of a burning peat oven, that sort of immersive detailing is a delight.
This is a demanding piece of writing that has found safe hands with cast, director and company and once again testament to the fine qualities to be found in our local theatre groups.
Andrew Kay
9 April
The Barn Theatre Southwick
Rating:
