Writer: Gerry Farrell
Director: Prin Duignan
As Love Actually’s Hugh Grant says of America in his Prime Ministers speech “A friend who bullies us is no longer a friend”, neither was David Lloyd George a friend to Ireland. Given it was he who sanctioned the notorious Black and Tans and their reign of terror during the Irish War of Independence, I was intrigued as to how actor and playwright, Gerry Farrell might seek to garner sympathy for the man whose Government of Ireland Act in 1920 was responsible for the partition of our Country. It might also be argued, the direct consequences of David Lloyd George’s coercion of parties to the 1922 Anglo-Irish Treaty, led Ireland into its devastating Civil War.
Enter stage right a cast, compliments of Leitrim based Splodar Theatre Group, committed to Farrells thoroughly researched vision of exploring the complexities, contradictions and relationships of “the Welsh goat … the Welsh wizard … the Welsh ram”.
It’s a snowy, January morning in 1941 and the family have convened at their home in Criccieth, Wales following the burial of their wife and mother, Dame Margaret Lloyd George. Maire Hynes’ set, depicting the family drawing room, is perfectly on point.
Given Lloyd George had, for many years, been living practically bigamously with his mistress and secretary, Frances Stevenson, former friend and governess to his daughters, Mair and Megan, respectively, tensions are running high. Becky Farrell as Megan holds her “Tada” accountable; “I am an open wound … you pour salt on that wound with your continued liaisons with that woman … and your lecherous craving of young women”.
Though understandably outraged in defence of her mother, Megan’s stance is hypocritical in that she is something of a minx in this regard herself. Not least in her clandestine affair with the M.P. for Darby, one very married Philip Noel-Baker. A Quaker, intent on achieving world peace, Baker, adeptly portrayed by Barry Deignan, presents his case to Lloyd George for having ‘treacherously’ travelled to ‘Eire’ with the support of the League of Nations, to meet with DeValera regarding the design of a new international peace charter. Baker’s acerbic quip “I am not the one who travelled to Germany and dined with Hitler” quells further argument.
Farrell’s embodiment of Lloyd George is absolute. The part calls for considerable dialogue and soliloquies and the actor never falters. His character, however, fails to inspire likeability, let alone sympathy. In response to having urged Britain’s men to fight for their country but keeping his own sons back from the front he says, “One has one’s duty as a member of cabinet and one has one’s duty as a Father”. He reveals his formula for applying pressure to, and manipulating opponents, “I need your commitment now as a matter of urgency”. By his own account, “I was not a good husband”. And Ireland’s soldiers were “…dreamers, poets and papists”. Redemptively, the success of the ‘People’s Budget’ and his achievements during the First World War are acknowledged.
Sheila O’Keefes Lally is a warm and kind housekeeper who, along with serving tea and sandwiches, provides respite from the extensive political discourse. As does Michael Roper’s perpetually intoxicated ‘Cledwyn’ who is responsible for some of the more lighthearted and funny moments in Prin Duignan’s production.
Farrell’s ‘The Last Prime Minister of Ireland’ brings timely historical context to recent and unfolding events in Northern Ireland. In a portentous and foreboding thread the protagonist blames Bishop O’Donnell for partition. With eerie echoes of issues surrounding the Northern Ireland Protocol, Lloyd George argues that the latter’s opposition to Ireland remaining in the Customs Union of the British Empire, at the June 1917 Trinity College Convention, scuppered a Home Rule Parliament in Dublin with no separation of the counties.
This play was ambitious in its many themes and its endeavours to cover and recount so much of Lloyd George’s life and career. It will appeal particularly to students of history and politics.
Lovely to be back in Smock Alley and Dublin’s ancient quarter. A shout out also to Luke McGinley on sound, Pamela Ferguson for costumes, Fergal Harkin and Mark Gavin on Lighting, Stage Manager, Joni Crone and Barry Deignan for Photography.
Runs until 25th of March.
The Review's Hub Score
A Welsh Wizard
