The Playboy of the Western World (National Theatre Live)

Éanna Hardwicke and Nicola Coughlan in The Playboy of the Western World. (c) Marc Brenner

***

You could argue the history of theatre is one of lurching from crisis to crisis. Cinema, television and AI just some of the generational challenges faced over the decades. Currently there's a three pronged response in commercial theatre; star studded casts, mutually beneficial partnerships, and tapping into other audiences, be they of an already popular franchise, online or, ironically, cinema. The advantages of theatre onscreen during Covid engendering cinematic releases of recorded live performances for those who, for whatever reason, might otherwise be unable to attend. The silver screen’s front seat proximity in the presence of an audience who, thankfully, don't jump up for unearned ovations making for a welcome addition. All of the above informing National Theatre, London’s star studded production of J.M. Synge’s 1907 classic The Playboy of The Western World, directed by the National Theatre of Ireland’s Artistic Director, Caitríona McLaughlin. Synge’s timeless tale of Christy Mahon, believed to have murdered his father, escaping to a small West of Ireland village where he is revered for his bravery. Desired by every woman with a pulse, especially the pragmatic Widow Quin and the spirited Pegeen Mike, Christy basks in his newfound popularity until the past comes calling demanding payment. McLaughlin’s Goldilocks production including terrific performances, an unwelcome touch of Oirish, and a pinch of trying too hard. Some ingredients overcooked, some under seasoned, others hitting just right.

Siobhán McSweeney in The Playboy of the Western World. (c) Marc Brenner 

Overcooked is Katie Davenport's beautiful two part set, in keeping with McLaughlin’s pyrrhic approach of splitting the stage space into two areas; one performative, the other mostly symbolic dead weight. The sketched interior of a shebeen overshadowed by a skylit backdrop with fields, beautifully lit by James Farncombe, detracting from the plays central cohesion. Characters shoehorned into under seasoned cultural commentary, echoed in Anna Mullarkey’s fiddler tunes, over worked accents, and Davenport’s wren boy costumes. Contrasting with Davenport’s earthier pubs, fires, and weather worn clothes showing flickers of signature detail. The Widow Quin’s flattering mourning dress hinting at her flirtatious nature, Pegeen Mike’s red ankle boots as wild as her passionate soul, the fearless Sara Tansey’s tomboy tank top. Even Christy’s sleeveless arms reveal a spud digging musculature earned the hard way. Yet the visual contrasts frame the action like a museum piece, undercutting the intensity of Synge’s realism to accommodate a colourful spectacle.

Nicola Coughlan in The Playboy of the Western World. (c) Marc Brenner 

Where The Playboy of the Western World succeeds, and does so magnificently, is in its terrific performances. However good you think Nicola Coughlan is, quadruple it. Coughlan’s Pegeen Mike, devastatingly detailed and brilliantly realised, a hallmark for all Pegeen Mikes. Coughlan commanding the stage as young woman with confidence, swagger, authority and anger at having no real power in a world of gormless men. Wild, sexy, fearless, Coughlan’s Pegeen is a women to be reckoned with. Coughlan going toe to toe with her old Derry Girls sparring partner Siobhán McSweeney as The Widow Quin, both women determined to have Christy all to themselves. McSweeney superb as a haughty, world weary woman who knows how to play the game, showing flickers of vulnerability at key moments that break your heart. Like Marty Breen’s superb Sara Tansey and her cohort of lusting ladies, strength defines women throughout, elevated with confident swagger. Meanwhile men are mostly played as drunken or gombeen Irishmen. And there lies the rub.

Marty Rae and Siobhán McSweeney in The Playboy of the Western World. (c) Marc Brenner 

Played brilliantly it has to be said. Lorcan Cranitch’s Michael Flaherty, trying to decide Pegeen’s future through a haze of poteen, is seamlessly perfect. As is Marty Rae’s cowardly Shaun Keogh, Pegeen’s spineless suitor. Rae confirming what people this side of pond already know, that Rae is one of the outstanding actors of his generation. Declan Conlon’s assured Old Mahon might seem a little more balanced, but he’s not immune to moments of stupidity. Éanna Hardwicke leaning into the poet Christy as an idiot born and bred delivers a sterling performance. Except it all makes for an ask you don’t quite buy. If women imagine Christy as having spirit in him and being a gamey lad, a man women want and men want to be, that’s not quite what Hardwicke’s selling. Rather, it's like asking us to believe that Barry Geoghegan’s superlatively Dominic in The Banshees of Inisherin could have Kerry Condon’s no nonsense Siobhán swooning after him. Synge’s women might be desperate, demented and delirious with desire, but they’re not delusional. It’s a coin toss who's the more pathetic, Shaun Keogh or Christy, even as both are brilliantly portrayed.

As a result The Playboy of the Western World ever quite finds its drama, or fully realises its comedy, leaving a hole at the heart of the production. McLaughlin frequently crafting mesmerising scenes, but the play, with much of it subtextual tensions, slipping through her fingers. The production, like Christy, flattering to deceive at times and, ultimately, being the one that got away. But The Playboy of the Western World has moments, many of them memorable, and if for no other reason than its brilliant performances, with Coughlan simply out of this world, it's well worth the watch. And you can see it at Dublin's favourite cinema, The Lighthouse, from May 28. The Lighthouse also hosting an exhibition of the set and costume design by Katie Davenport from May 28. Davenport, never afraid of taking risks, one of theatre’s most visually intriguing designers.

The Playboy of the Western World by J.M. Synge, presented by The National Theatre, (London), will be available as a National Theatre Live Screening at the Lighthouse Cinema from May 28.

For more information visit The Lighthouse Cinema or The National Theatre (London)