The Playboy of the Western World by J.M.Synge
Barons Court Theatre, July 2000

Ingrid Holtz’s thankfully ‘oirish-free’ production was a masterful exercise in detailed performance and sensitive pacing. Characters spoke volumes between lines and Holtz succeeded in creating a slice of life, with all its hopes and humour. The story of the dreamer who concocts a fantastic tale in order to impress and is then crushed by the very lies he tells, was beautifully told.

Marcus Mollan’s Christy scored a direct hit. Christy must be charming, quick-witted, though not a little naïve. Mollan’s edgy, nervy physicality matched against an impish tone succeeded in winning over the likes of Pegeen Mike, Widow Quin, the Village Girls and most women in the audience. Phillipa Bain’s Pegeen Mike was at once forbidding and forgiving- the epitome of a woman in search of romance. Hers was the perfect blend of fire and feeling. The see-saw relationship between these two is the lynchpin for a strong production. Holtz confidently charted the developments inch by inch, in a manner reminiscent of her handling of Beatrice and Benedick in her 1998 production of Much Ado.

It was not only the two leads who succeeded in bringing life to their parts. Oscar Blend as Pegeen’s father was a huckster of the first order. He exuded life in everything he said and did and brought an infectious energy to the role. He was more than matched by Mike Greener’s Old Mahon. Greener has appeared in three other KDC productions but this was surely his finest hour. His irascible, vindictive and cruel grouch was Albert Steptoe at twice the volume and intensity. The moment when he whipped his hat off to reveal a battered skull was a moment of unexpected comedy.

Alistair McClure’s Shawn Keogh was convincing as a cowardly klutz. He beautifully portrayed a man eaten up by envy, with no possible way of impressing anyone when faced with Christy’s wild claims. One of Christy’s earliest admirers comes in the way of Widow Quin. Not yet out of her mourning garb and already on the make, Leanda Doyle was superbly predatory, sly and not particularly gracious in defeat. Her first encounter with Christy was one of the strongest scenes in the play.

In a piece that revels in bold and boisterous characterisation, the ‘smaller’ parts are offered glorious opportunities to shine. Just such an opportunity was grabbed firmly by throat by KDC veteran Alexander Gordon-Wood and Jef Higgins as the nattily-dressed farmers Jimmy and Philly. They sat at the inn’s bar gulping away and commenting on the action like a couple of rustic outcasts from a Greek Chorus. It is Higgins first KDC production and it was good to see ‘the old and new’ work together so harmoniously.

For me, the three village girls were a hoot. Like a band of Furies they raced around the stage, posing and pouting for the delicious new boy on the block. The statuesque Emma-Jane Bailey, the wild and wanton Clarisse East and the pert and knowing Sophie Urquhart were a highly-effective trio of unbridled seducers.

Finally, as you entered the theatre, you could not help but be struck by Phil Newman and Richard Evan’s excellent set. The Baron’s Court Theatre is a notoriously difficult space to design for, but their nimble paint-work and ingenious construction overcame the restrictions. Newman’s wall-painted effects were subtle and convincing; showing what one can do with one wall and a bucket of talent. Richard Evans’ reputation for being one of the best lighting designers in the ‘business’ was confirmed with his work on Playboy. Two hit productions in one season. Little to choose between them. KDC thrives.