This, Martin McDonagh’s first play,
announced him in 1996 as a theatrical equivalent to the Pogues:
English-raised but of Irish heritage, and remaking traditional material
into a new creation that blended a strong lineage with contemporary
vibrancy and a horse-doctor’s dose of irreverence. A decade and more of
familiarity with the strategy has not lessened the effect of
The Beauty Queen Of Leenane. The
story of selfish, manipulative 70-year-old Mag Folan and Maureen, the
40-year-old daughter she has effectively chained to their rural Galway
cottage for 20 years as her carer and who is far from on an even
psychological keel herself, is presented with a keen ear for southern
Connacht locutions and an imagination that revels infectiously in bad
taste. It is as if John Millington Synge had written
Psycho.
Director Joe Hill-Gibbins gets maximum mileage out of the sense of
claustrophobia of the single cottage-kitchen location, with designer
Ultz providing a set that, characteristically, is clever but goes a bit
too far. We enter the reconfigured auditorium through veils of rain
spattering against sheets of polythene, which flank the ceilinged
playing area itself; there is even a grassy area which can hardly be
seen as folk enter and exit by the cottage’s main door, but we get to
pass on our own entrances.
The central performances come from a pair of masterly Irish actresses.
As Mag, Rosaleen Linehan has a set of features and an expressive skill
that allow her to look innocent, pathetic, vindictive and furtive all
at once. Susan Lynch has moved on from her sinister-siren early days:
she can still evoke the dark heart that underlies so many of her roles,
yet can now combine it with a genuine pathos and a sense that Maureen
could well merit the title “the beauty queen of Leenane”, as she is
dubbed by neighbour Pato, whose affection seems to offer her an escape.
McDonagh’s writing and Hill-Gibbins’ staging alike know the value both
of charm and shock, of suddenness and exquisite inevitability, whether
the latter concerns Maureen’s dashed hopes or Mag’s chamber pot emptied
into the sink. As well as being delicious in its own right, it makes
one impatient for a British premiere of McDonagh’s latest (and first
American-set) play,
A Behanding In
Spokane.
Written for the Financial
Times.