Writer: Martin McDonagh
Director: Declan Rudden
“I suppose now you’ll never be dying. You’ll be hanging on forever, just to spite me.”
The set design perfectly prepares the audience for an evening in a west of Ireland country kitchen (with the stereotypical religious paraphernalia) but nothing could prepare us for the misery. Though of course, those of us who know Martin McDonagh’s dark writing wouldn’t be a bit surprised by the horrors that awaited.
Martin McDonagh is on the tip of everyone’s tongue these days with the popularity of the Banshees of Inisherin, but it’s in watching this production of The Beauty Queen of Leenane that it’s clear his work belongs on the stage. The bitterness and black humour that he’s so well known for is at its finest here, and the Balally Players certainly do it justice.
Aisling Finn as Maureen, the downtrodden daughter tending to her malevolent mother, conveys misery and fury beautifully in both her physical and vocal performance. The doomed back and forth of the two (reminiscent of Hamm and Clov in Beckett’s Endgame) gives the audience a palpable sense of foreboding. Hilary Madigan as Mag played the part confidently, though perhaps not cruelly enough to make Maureen’s actions entirely understandable. If not for the running jokes (will the poor quality of Kimberley biscuits still be laughed about in another 30 years time?), and spattering of sweet moments, the violence that occurs would be hard to bear.
Pato is the welcome source of light in the production, played with an affable charm by Sean Murphy. He has a childlike innocence, and is the spark of hope in Maureen’s pitiful existence, only for that hope to be brutally extinguished. Murphy and Finn play off each other well, so sweet together that it makes the conclusion all the more devastating.
This production was highly enjoyable, and a strong reminder of how captivating great theatre can be. It was definitely worth travelling out of the city centre for. Having been to several professional theatre productions in the past year (in both The Gate and The Abbey), I would say none were as impactful or as well acted as this production.
Runs until 11th February 2023.
The Review's Hub Score
Devastating
