Review: The Cripple of Inishmaan (Druid Theatre)

     
     

Savage Irish humor at its finest

     
     

Tadhg Murphy in Ireland's Druid Theatre Company's The Cripple of Inishmaan, playing at Chicago Shakespeare Theater. Photo by Ros Kavanagh

  
Druid Theatre i/a/w Chicago Shakespeare presents
   
The Cripple of Inishmaan
       
Written by Martin McDonagh
Directed by Garry Hines
at Chicago Shakespeare, Navy Pier (map)
through March 27   |  tickets: $46-$56  |  more info

Reviewed by Paige Listerud

Ireland must not be such a bad place, if it has superlative companies like the Druid Theatre. Chicago Shakespeare’s World Stage Series brings us their tour with The Cripple of Inishmaan, in the nick of time for the wearin’ of the green. What could be finer around St. Patrick’s Day than a comedy that digs deep into a history of poverty, rife with all the leftover indignities of colonization, to uncover a deliciously perverse pride in one’s lowly and misbegotten state? (Well, maybe a pint—but that you can get for yourself.) Director Garry Hines and her consummate cast serve up Martin McDonagh’s rich stew of affable and self-effacing Irish humor, seasoned sharply with choice bites of insult. The Cripple of Inishmaan may be the lightest of McDonagh’s dark comedies but it still positions small town compassion cheek-by-jowl with small Tadhg Murphy in Ireland's Druid Theatre Company's The Cripple of Inishmaan, playing at Chicago Shakespeare Theater. Photo by Ros Kavanaghtown cruelty. The mercurial smoothness with which Druid’s cast flashes and withdraws its teeth reveals acting professionalism of the highest order.

Of course, the entire play slyly rips into Robert Flaherty’s 1934 documentary, “Man of Aran”. JohnnyPateenMike’s (Dermot Crowley) news of the arrival of Flaherty’s American production company sends Inishmaan’s poverty-stricken locals scurrying after parts in the film. The young ones, rough and tumble Slippy Helen (Clare Dunne), sweets-loving Bartley (Laurence Kinlan) and Cripple Billy (Tadhg Murphy), especially hope for that big Hollywood break to get them out of their dead end town. Yet, they hardly know what they’re getting themselves into with Flaherty’s film.

Promoted as a portrayal of contemporary life on the islands, “Man of Aran” actually contrived its depiction of “primitive” Irish folk contending against barren, wild nature. Central to Flaherty’s Jack London-esque fantasy is an extremely dangerous-to-shoot shark hunt–a practice abandoned in the 19th century once paraffin for lighting, and then electricity, took over. Flaherty had to send to Claddagh in Galway for the one surviving fisherman who remembered how it was done in the old days. Of his own film, Flaherty himself said, “I should have been shot for what I asked these superb people to do, all for the sake of a keg of porter and five pounds apiece.”

But McDonagh’s comedy makes a virtue of desperation. Even if beggars can’t be choosers, they can still savagely skewer their daily conditions, saving the best bits for each other. By far, JohnnyPateenMike and his bedridden, but contentedly alcoholic, mother, redoubtably played by Nancy E. Carroll, make the funniest frenemies. But Billy’s crush, Helen, gets her licks in, whether smashing eggs against her brother’s head or bluntly telling Billy that his parents killed themselves because of him. “Would you love you if you were you? You barely love you and you are you.” Damn right, it’s terribly cruel—but, then, you have to be there for the delivery to laugh at it.

Beggars can also dream big. If JohnnyPateenMike can obtain his news, by hook or by crook, to trade for provisions at Kate (Ingrid Craigie) and Eileen’s Druid The Cripple of Inishmaan. Liam Carney, Tadhg Murphy in mirror reflection. Photo by Robert Day.(Dearbhla Molloy) general store, then, by hook or by crook, Billy can vie for a seat in BabbyBobby’s (Liam Carney) boat to ferry him, along with Helen and Bartley, to Inishmore where the filming is taking place. Poor cripple boy that he is, his long, outside shot comes through and his unexpected departure tears a hole in small Inishman’s social fabric.

The Cripple of Inishmaan is nothing less than a slalom run of emotional and plot twists and turns. Druid’s cast hugs every curve like Olympians, belying the axiom that it’s the people who know you who can be the most ruthless about your failings and shortcomings—and yet, compassion and caring also emerge from the most unexpected places. McDonagh mocks Flaherty’s condescending fiction about simple and rugged Irish folk, but just as paradoxically celebrates the human power to create fiction in the face of harsh and banal reality. “A man who can’t lie is as dumb as a horse,” my Irish American mother once told me. You’ll find none of those here in this play.

  
  
Rating: ★★★★
  
  

Tadhg Murphy and Clare Dunne in Druid Theatre's 'The Cripple of Inishmaan'. Photo by Robert Day.

  
  

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Chicago Shakespeare announces 2010-2011 Season

Chicago Shakespeare - Taming of Shrew Taming of the Shrew, performed in the Courtyard Theater through June 2010

 

Chicago Shakespeare Theater announces their

 
2010-2011 Season

 

As Chicago Shakespeare Theater (CST) finishes the run of its acclaimed world-premiere family musical The Emperor’s New Clothes (our review ★★★½) this month, it looks forward to the season ahead. Further information for all of the productions listed below is available on the Theater’s website at www.chicagoshakes.com or by calling the CST Box Office at 312.595.5600.

 

Mainstage Shows

 

September 15–November 21

   
   
  Romeo and Juliet
  By William Shakespeare 
Directed by
Gale Edwards
In the
Courtyard Theater
   
  Opening the 2010/11 Subscription Series, world-renowned Australian director Gale Edwards stages William Shakespeare’s iconic romantic tragedy in her CST debut. Edwards, whose work has been seen at the Royal Shakespeare Company and in theaters across America, has assembled a talented ensemble including Canada’s Dora Award winner Jeff Lillico and Joy Farmer-Clary in the title roles. CST veterans returning for Edwards’ production include: Ora Jones, last seen in Twelfth Night (our review ★★★½), as Nurse; Brendan Marshall-Rashid, who delivered Richmond’s memorable final soliloquy in Richard III (our review ★★★★), as Paris; Judy Blue as Lady Capulet; Steve Haggard as Benvolio; and David Lively as Friar Laurence, who previously played King Henry IV in CST’s Henry IV Parts 1 and 2, marking the Theater’s debut at the Royal Shakespeare Company in 2006. An award-winning creative team joins Edwards for this landmark production, including Scenic Designer Brian Sidney Bembridge, Costume Designer Ana Kuzmanic, Lighting Designer John Culbert, Original Music and Sound Designer Lindsay Jones, Wig and Makeup Designer Melissa Veal, Properties Master Chelsea Meyers, Fight Director Rick Sordelet and Verse Coach Barbara Robertson.
   
Jeff Lillico and Joy Farmer-Clary will play the title roles in Chicago Shakespeare Theater's Romeo and Juliet from September 15–November 21, 2010.  Photo by Peter Bosy.Jeff Lillico and Joy Farmer-Clary will play the title roles in Chicago Shakespeare Theater’s Romeo and Juliet from September 15–November 21, 2010.  Photo by Peter Bosy.

 

 

January 5 – March 6, 2011

   
   
  As You Like It
  By William Shakespeare 
Directed by
Gary Griffin 
In the
Courtyard Theater
   
  CST Associate Artistic Director Gary Griffin directs Shakespeare’s beloved pastoral comedy set in the magical Forest of Arden. This season marks Griffin’s ten-year anniversary with CST, an illustrious history that includes his acclaimed CST Olivier and Jeff Award-winning Sondheim musicals and productions of Private Lives (review ★★★) and Amadeus.
   
   

 

April 13 – June 12, 2011

   
   
  The Madness of George III
  By Alan Bennett
Directed by Penny Metropolus
In the Courtyard Theater
   
  The three-play Subscription Series concludes with The Madness of George III by Olivier and Tony Award-winning playwright Alan Bennett (The History Boys). This masterpiece of royal intrigue about a monarch’s slide into insanity will be directed by Penny Metropolus, whose work has been seen for nearly two decades at Oregon Shakespeare Festival. The production marks Metropolus’ return to CST, where she staged The Two Gentlemen of Verona in 2000.
   
   

World’s Stage  and   CST Family

Below the Fold:  World’s Stage productions from Scotland and Ireland, and a CST export to Australia. Additional CST Family programming includes an abridged Shakespeare production and family concerts.

 

Chicago Shakes - Black Watch 2 Chicago Shakes - Cripple of Inishmaan 1
Chicago Shakes - Funk it Up 1 Chicago Shakes - Black Watch 4

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