This is the kind of play you might assume rendered by Brian Friel – not a comparison of style, but rather one of nuanced character depiction, relatable situation and solid storytelling. A satisfying work of writing and production.
1990’s – The O’Leary family Pub on the Galway, Ireland waterfront. Jim O’Leary has drunk himself to death. The garrulous owner of a local pub (and soup kitchen) that acts as refuge for loyal regulars, he’ll be sorely missed. Jim leaves behind Martin, his alienated, property-developer father (Hamilton Clancy), and sister Maureen (Kathleen Simmonds), equally flourishing in New York, who’s come, she guiltily feels, too late.
Drew Valins (Paddy), Una Clancy (Mary), Patrick Hart (Aiden), Dave Marantz (Matt), Kathleen Simmonds (Maureen)
Maureen fled home 40 years ago after a scandal involving her mother and a priest during which Martin tended neither to his wife’s good name nor his children’s doubts. She arrives in stiletto heels and designer apparel evoking jealousy and judgment from Brenda (Mary Linehan), warm welcome from Jim’s best friend, barkeep Paddy (Andrew Valins) and pregnant girlfriend, Jane (Natalie Smith), curiosity from the others.
Mary Linehan, playing a Catholic hardliner and rumor monger, skillfully elicits the kind of dislike her character deserves. Andrew Valins’ Paddy is credibly warm and reliable, if without personality detail. Natalie Smith (Jane) is earth woman personified, naturally existing as if she walked in off the street.
Mary Linehan (Brenda), Patrick Hart (Aiden)
Gathered at O’Leary’s, Maureen additionally finds: town gossip and keeper of legends, Mary (Una Clancy); construction worker Matt “This place is a tear-down”, (David Marantz), and sweet Anna (Meg Hennessy) who has a crush on Brenda’s thoughtful boyfriend Aiden (Patrick Hart).
Una Clancy is terrific – clip and obtusely snarky. She even moves the way she sounds. David Marantz needs work on both his accent and character defining specifics. Meg Hennessy, whom I recently admired in Irish Rep’s The Aristocrats, proves less is more with subtle, yet whole presence and expression. Patrick Hart, who also offers two lovely, traditional vocals, follows the same philosophy as Hennessy with realistic, understated performance.
Una Clancy (Mary), Meg Hennessy (Anna)
“Of course, it was all the tongues in the town that killed him,” Maureen notes bitterly. She plans to leave in the few days it takes to wrap things up. When her father doesn’t appear at Jim’s funeral and it’s revealed that her brother left her the pub, emotional complications are exposed. It seems Martin’s Dockside Revitalization Project wants to tear down the family business. She storms his office confronting the man who failed his son as well as her mother. Martin has an answer for everything. He offers to buy the building. We learn what happened to his wife.
Hamilton Clancy (Martin), Kathleen Simmonds (Maureen)
Hamilton Clancy (Martin) is too uniformly loud and dramatic for the role, volume also diminishing comprehension. Nor is his accent as good as other players. The actor improves but has set a distancing bar.
Maureen is so (gorgeously, palpably, kinetically) upset, she goes to see the new priest, Father Michael (Skyler Gallun), a young man she’d known growing up. They’re inadvertently observed by Aidan in a compassionate embrace. He makes the mistake of telling Brenda. Like mother, like daughter gossip circulates fast. Consequences ensue.
Skyler Gallun is handicapped by the fact that he looks too young for us to believe a burgeoning, reciprocal relationship with Maureen. That he’s torn is clear, but imagining desire is difficult on both sides. Sermons are well grounded.
Skyler Gallun (Fr. Michael), Kathleen Simmonds (Maureen Hayes)
Kathleen Simmonds is terrific. A riveting actress who emits not a false note, she inhabits Maureen so fully one feels like a voyeur. Physicality of nerves and upset, warmth, fury, exuberance, and desire are distinctive. We take the journey with her.
Deciding to stay and renovate the pub – in time for what would have been Jim’s 40th birthday – is a Herculean task. Maureen takes it on with vigor. She makes behavioral mistakes. Relationships change. There’s a victory, a reveal, and a tragedy. The only thing that doesn’t land well is end-of-play discovery of an ill placed stranger. It’s not necessary and feels added on. Otherwise this excellent piece holds interest and entertains throughout.
The Company
Direction by company founder Hamilton Clancy adroitly uses a space with audience on two sides. Every bit of movement feels organic, nothing arranged for sightline. Pacing is excellent. Use of music enhances. Dancing is infectiously joyful. Relationships are well realized; two-hander scenes particularly deft.
Scenic designer Rebecca Lord-Surrat has created appropriate no fuss pub and office. Lisa Renee Jordan’s costumes are just right.
Photos by Lee Wexler – Images for Innovation
Opening: Kathleen Simmonds (Maureen), Andew Valins (Paddy)
Drilling Company Theatre presents
Herself by Tim McGillicuddy
Directed by Hamilton Clancy
Gural Theatre
502 West 53rd Street
Through April 20, 2024
