By Tom Dayton
Photos: Ken McGuire
Growing up in Clare in the 1980’s, two topics were always up for discussion. Traditional Irish music, and Fairies. Mind you they were never referred to as fairies. Rather, they were addressed as ‘The Good People (An Dea Daoine) for fear of insulting them. The music, whether in Miltown Malbay, Doolin or Lisdoon’ was a religion in itself. The stories about fairies were also a very serious matter. People avoided interfering with places or things that were thought to belong to the fairies. People even built their homes away from sites associated with fairies and away from fairy paths. When planning the building of a house, the selection of a site was not to be over a fairy assembly place or near a path thought to be used by them. Disturbing any fairy property was a no-no.
Loneliness the key
Since moving to my adopted town of Thomastown, the stories and yarns about fairies and other world people are not as plentiful.
And so, when I was asked by the Kilkenny Observer newspaper to review a production of The Weir (Lake Productions) I was happy to do so, rekindling memories of ‘The good people’. The show contains stories that span topics such as fairies looking for access to water, loneliness, fear of committent and regret. As a member of a drama group in Clare, and having studied in both The Lir and Trinity, I am well versed in Irish theatre. McPherson’s ‘Weir’ is a particular favourite. This is my fourth Lake show to review and it would appear that the calibre of acting is constantly at the highest scale. On a cold, stormy night in a remote Irish bar, four old friends gather, to swap old tales as they laugh and drink into the night.
The arrival of a young female stranger, haunted by a secret from the past, challenges the men to impress her with their ghost stories. The night takes a dramatic turn, more unsettling than any could have expected.
Great banter
When a production features four monologues, the audience is entitled to be wary, afraid that the play will drag. Not so on this occasion. Each story was treated with an honesty and respect it deserved. The tempo and pace ensured that the audience was engrossed from beginning to end and director and cast are to be congratulated on their attention to detail, while relaying their stories. Apart from the monologues, the banter between the five actors was a joy to behold and the ability of each actor to vary their performance to fight, swear, consume numerous drinks and deliver some wonderful comedy was done with class.. Over the past five years I have seen Derek Dooley, Joe Murray and Ann Murray wear the Lake jersey. Derek Dooley was powerful in The Kings of the Kilburn High Road as the self made man. Equally in this production, his characterisation of Jim, was a treat. Dooley played a character, who appeared not to be ‘knitting with both needles’, and yet was the go to man when facts were needed. His timing, delivery and mannerisms were played to perfection.
Anne Murray, who last appeared in Hugh Leonards Da, took on the role of Valerie, the ‘blow-in’. The delivery of her monologue regarding her daughters tragic story was executed with a grace, sadness and sincerity that is usually reserved for the professional stage. It was as if she had two roles. She arrived into the play as an innocent, easily impressed young lady. A metamorphosis saw her deliver a terrific story about a personal tragedy. In a way, hers was the most tragic of all the stories as it was based on fact.
Making his debut with Lake Productions, Niall Morrissey strutted the stage in the role of Brendan, with a delivery and presence that many actors, seeking work in the theatre business, constantly search for. And while he was the only character without a monologue, he is on stage from start to finish and suffice to say that he excelled. Brendan is the steady one and portrays himself as the grounded one. He was calmness personified , which allowed us a window into the chaotic lives of the others. There is no doubt that he will be seen in many future productions on the Kilkenny stage.
Gerry Coady, who took on the role of the tormented Jack, was powerful as he swilled whiskey, cracked jokes and told a story revealing the depth of loneliness experienced by many country bachelors. His portrayal proved the old saying ‘scratch the surface and you’ll find the inner truth’. His delivery would make any storyteller proud.
The final actor was Joe Murray. When I saw Mr Murray in the title role of Da,( Hugh Leonard) I remarked (in this newspaper) that he was one of the finest actors I had seen on the amateur stage. Not only has my mind not changed having seen him perform in the Weir, but he has gone to an even higher level. He moved from the genial charismatic auctioneer / tour guide to a very upset and disgruntled character with his past hiding all sorts of anger and hurt. His acting experience allowed him deliver this role to perfection.
Ensemble
While we can praise individual performances, the team work in The Weir was the real winner. The actors bounced off each other with army like precision. The fights, arguments, moments of silence and the comedy was made real by excellent performances all round. I particularly enjoyed the concentration of all actors while a monologue was delivered.
Loneliness is the core theme and primary subject of Conor McPherson’s The Weir. The play is a searing study of isolation, highlighting the lonely lives of rural bachelors and the profound longing for connection in modern and rural life. Lake Productions captured that beautifully.
There was jumps and bumps, laughter and tears all wrapped up in a night of tremendous entertainment
Final points
Two points to finish. Direction by Darren Donohue must be praised. His innovative work was noticeable and certainly added panache to the production.
And the set. Credit here to Darren Donohue and Terry Brennan who devised a marvellous set. It gave the production an eerie look and complemented the various ghost stories. Including the art of taxidermy and ‘banging doors’.
Cast included: Gerry Coady, Niall Morrissey, Derek Dooley, Anne Murray and Joe Murray. Director was Darren Donohue with production and stage management in the hands of Dee Gibney. Lighting and sound effects were by Brendan Maguire and worthy of a special mention. Costumes by Jo-Ann Cody and Clare Gibbs were spot on. Box office bookings was controlled by Emily Kelly.
Tom Dayton is a journalist and actor, originally from Clare/Galway and currently resides in Thomastown.
