The Seafarer
I absolutely loved this production, primarily due to the wonderful acting by each member of the cast.
A brilliant ensemble, daring and imaginative exploration, made sitting through the long first act patiently and palatably possible. This professional company succeeded in total captivation of the audience.
As the irascible, dictatorial, wild patriarch, John Mahoney sparkles, running blindly around the stage displaying his uncontrolled, almost maniacal, lordship. He is totally committed and there seems to be no end to the variety of his physical and emotional expression. The discerning insight of his character shows through in the end, and we forgive him his selfish antics.
Andrew Connolly, as Sharky, the younger brother, is adequately morose and withdrawn, played with an almost lovable simplicity and minimalism. His anguish and passion is shown late in the play but we are with him all the way.
As the devil suddenly arriving to collect past debts, Tom Irwin commands the stage. Slick but heartless we hear a magnificent description of both heaven and hell. Threatening and cruel we await his horrifying triumph. I though perhaps that Mr. Irwin performed too much with his eyes closed, or almost closed.
I couldn’t understand why he was doing this.
Paul Vincent O’Connor and Matt Roth were perfect as the drinking buddy and the new husband of Sharky’s lost love.
The set was excellent and the staging for this talky play very good, proving that lots of movement and action need not be necessary all the time.
Now we come to the play itself. As in many Irish plays, we find drunken characters sitting around telling stories of past occurrences. The accents and the pacing, as in this production, often cause much to be lost and inaudible. In the first act of The Seafarer we are aware that we are watching fine acting, but can’t decipher the purpose. It is not until a few minutes before intermission, when the devil is introduced, that we discover a plot and direction, a reason for which we have endured the long build up. The Los Angeles Times said in their review, “The cast of garrulous drunkards seems out to break the Guinness World Record for inebriated words uttered in a single drama.” I agree. But the hidden themes of the play as they unravel in the second act are powerful and meaningful, dealing with guilt and redemption, alcoholism crushing remembrances of past criminality and failure, and the triumph of humanity and compassion.
This may not be a perfect play or a perfect production, but it is well worth attending. I enjoyed it immensely.
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Theater: Geffen Playhouse, 10886 Le Conte Ave. Westwood.
Web Site: http://www.geffenplayhouse.com/
Tickets: (310) 208-5454
Dates: Through May 24, 2009