Dublin Carol
Irish Repertory Theatre
the Francis J. Greenburger Mainstage
Sept. 20th – Nov. 10th, 2019
132 West 22nd Street
New York, NY 10011
Box Office: 212-727-2737
Office: 212-255-0270
Playwright: Conor McPherson
Director: Ciarán O’Reilly
Cast: Jeffrey Bean, Cillian Hegarty, and Sarah Street
Before this weekend’s out, try to see the last few performances of Irish Rep’s version of “Dublin Carol,” Conor McPherson’s insightful meditation on the ravages of alcohol addiction and its consequences. Following a fairly rudimentary story line, this extended one act (90 minutes) has lead character John Plunkett (Jeffrey Bean) recalling his a shameful drink-soaked past and shattered life. After handling a funeral on Christmas Eve with his 20-year-old helper Mark (Cillian Hegarty), John tells his sad history about how drinking destroyed much of his life and ruined his relationship with his family. John’s grown daughter Mary (Sarah Street) — who hasn’t seen him in a decade — arrives to tell him that her mother, his long-estranged wife, is dying. This unexpected Christmas Eve visit forces John to confront his demons and offer him a chance at redemption.
Does he really achieve any kind of realization? He’s still drinking, albeit less, and still castigating himself about what he has done. Rather than have the kind of acceptance he needs to move forward, he still fluctuates between escape and guilt. Though the play hints that the source of his addictions — a violently abusive father — still thrashes him, his daughter’s appearance and the consideration of a son seemingly long lost to him, suggests he still can make amends. This trio does a masterful job of making such ordinary but personally dire circumstances seem meaningful and profound without overtly shouting that the simple story line is about affairs of the heart. Anyone who has ever dealt with alcoholism or those who are set upon by the affliction will relate.
As the Rep’s sixth McPherson production, director Ciarán O’Reilly employs an intuitive understanding of the play to allow the actors to give such naturalistic performances. The others include “St. Nicholas” (2010), “The Weir” (2013 & 2015), “Port Authority” (2014), “Shining City” (2016), and “The Seafarer” (2018). This play has had a limited but sterling history, premiering in London’s Royal Court Theatre/Jerwood Theatre Downstairs in Spring of 2000 with Brian Cox ( Plunkett), Bronagh Gallagher (Mary) and Andrew Scott (Mark). Then, it opened Off-Broadway at the Atlantic Theater Company (running from February 20, 2003 to April 6, 2003) and was directed by McPherson himself with a sterling trio of Keith Nobbs, Jim Norton and Amy Ryan. Nominated for the 2003 Lucille Lortel Award, Best Play, Norton won the 2003 Obie Award, Performance. Then from Nov 6th, 2008 to January 4, 2009, it was produced by the Steppenwolf Theatre Company, in Chicago with this cast — William Petersen (John), Nicole Wiesner (Mary) and Stephen Louis Grush (Mark), and was directed by Amy Morton. Now the Rep adds to its place in New York’s theatrical history with this solid off-Broadway showcase.
Born on August 6, 1971, Dubliner McPherson has made quite a mark as a leader of Ireland’s new playwrights but thanks to writing such a production as this, he proves tobe a man rich in dialogue and worthy of catching any of his efforts. Look out for when tickets go on sale for “Girl From the North Country,” Mcpherson’s next production where the playwright uses Bob Dylan’s back catalog to create “a dialogue between the drama and the songs that makes this show exceptional” as The Guardian, one of London’s leading newspapers described it.