Frank McGuinness writes extraordinary
ordinary women. From his early play
The
Factory Girls through to
Dolly
West’s Kitchen and beyond, he has excelled at creating female
characters who are insightful and articulate but whose down-to-earth
manner of expression ensures they never seem unnaturally so. There is
at least one of this marvellous species in his latest play, along with
an unambiguously extraordinary woman, namely the screen idol of the
title.
In some ways McGuinness’s Donegal – that northwestern county of
Ireland, part of historical Ulster though not of Northern Ireland – is
similar to Brian Friel’s fictitious Ballybeg in the same area: all
human life is here, in one form or another, one era or another. As for
this era, we only need to hear an old valve radio blaring out Scott
McKenzie’s “San Francisco” and see the teenage Colette’s style of
dancing to it to know that it is 1967. The Sixties have hit even
Donegal: the Hennessy family may be reduced to working as domestics in
the “big house” their business-bourgeois family so recently owned, but
they are far more exercised by the fact that their new master is an
English aristocrat than that he is conducting a gay affair with the
Cockney ex-boxer he employs as a gardener. When he invites his old
friend Garbo (by now a quarter century in retirement) to stay, with
notions of selling the house off to her, her dispassionate
truth-telling acts as the catalyst for a batch of realisations amongst
the family regarding Colette’s educational ambitions, her parents’
love-in-hate marriage and above all the nature of her aunt Paulie’s
life.
Paulie is the great McGuinness woman in the play, and Michelle Fairley
turns in a magnificent performance, as her protective cynicism peels
away to reveal both regrets and still-active dreams. Angeline Ball as
her sister-in-law, Colette’s mother Sylvia, has had her tongue
sharpened by life’s grindstone, and Caroline Lagerfelt relishes her
portrayal of Garbo right from the deliberately self-parodic opening;
very quickly afterwards, though, (as the posters used to say) Garbo
laughs. Garbo even dances – a tango, with Paulie.
Much of the first half of the play feels like an obvious fantasy, but a
delicious one; much of the second follows a conventional scheme of
family revelations, but does so with sensitivity. McGuinness is not
afraid of sentimentality, but he pinches it off before it begins to
flow too freely. There is an air not just of personal portent but also
of political: just over the border in Derry, the Northern Irish civil
rights campaign is beginning which will within two years escalate and
be corrupted into the Troubles. The age of English nobs in republican
Donegal is ending (the final knell would be Earl Mountbatten’s murder
there in 1979), as is a chapter in the Hennessys’ lives, but another is
beginning. A truism, of course, but one beautifully expressed in
McGuinness’s play and Nicolas Kent’s production.
[FOOTNOTE: My mistake – Earl
Mountbatten was in fact murdered a few miles across the county border
in Sligo.]
Written for the Financial
Times.