Shaughraun’s review – hilarious humor and powerful charm in a divided Ireland | Theater

DIon BoucicaultThe 1874 musical comedy has become famous in the history of theater because of its performances and the expectations of the world. Finding a sweet balance between whimsy and sincerity, Garry Hynes’s production of Druid The theater company celebrates Boucicault’s gifts as a playwright and stage artist, whose creations wowed 19th-century audiences in New York and London.

The game takes a minimalistic approach, with Sligo’s landscape, mountain peaks and gothic towers rendered like picture books. The ladders and chairs slide down and swing, with the help of 10 people, most notably Conn “the Shaughraun” (Aaron Monaghan), a murderous and treacherous man. Here, Conn also functions as a ritualist cum stage, as if representing Boucicault himself.

The disturbing story of land grabs, kidnappings by English redcoats in an attempt to escape from the Fenians unfolds against the backdrop of Francis O’Connor’s Ordnance Survey map of the west of Ireland. Setting the stage for their colonial games, this also shows Boucicault’s influence on Translations by Brian Friel. And as in Friel’s play, a magical misunderstanding mars the romance between the doe-eyed English captain Molineux (Fintan Kinsella) and the clever local girl, Claire Ffolliott (Megan Cusack).

Claire’s brother, Robert Ffolliott (Marty Rea), has secretly returned from Australia after being chased by a corrupt judge, Kinchela (Rory Nolan), Molineux is deeply confused by this “wonderful” country. Kinchela, played with a swagger by Nolan, is about to receive his prize for Ffolliott’s place – and girlfriend (Eileen Walsh) – while Conor Linehan’s piano accompaniment inspires everything with a Victorian music hall in full bloom.

Always prepared, the resourceful Conn touches on the instability as he prepares to break Robert out of prison. A brilliant actress, Monaghan is charming without being twee, her performance reminiscent of Christy Mahon in Synge’s The Playboy of the Western World, as is Marie Mullen’s mischievous grieving Conn’s mother. Synge’s widows played.

With its parts related to Druid’s previous productions, this one emphasizes Boucicault’s influence on many Irish playwrights, while allowing everyone in the tightly-knit group to have a happy, interactive experience.