The Aran Islands are off shore of Galway on the west coast of Ireland. They consist of three islands: Inishmore, Inishmann, and Inisheer. In English playwright Martin McDonagh's second play of his second trilogy, The Cripple of Inishmaan, he explores a bit of the culture shared by some 1,400 people. Their isolation from the mainland on these bare, stony islands is so complete that Gaelic is still everyday speech.
McDonagh's English heritage has made him highly controversial. Some think he has captured the black humor of rural Ireland, while others see him as mocking and lampooning the Irish. The Cripple of Inishmaan can easily be interpreted either way. In fact, lobby conversation provided exactly that. The play certainly reflects some of what I remember of my stays in Dingle, a bit south of Galway.
Much like many villages in rural Ireland, the homes are made of limestone karst accessible only via narrow lanes. Lanes that traverse the fields surround the villages, so narrow that a passing truck could easily force one into greens-shrouded stone fences. The play's program offers a lexicon of terms and locations mentioned in the play. Director Glen Paris and dramaturg Anne-Charlotte Harvey did their research well, providing the audience with invaluable information.
The year is 1934; electricity will not come to the island for another 41 years. The cripple is Billy, played by Jason Connors. Played is an understatement; "became" is the proper term. Billy's body may be misshapen, but his mind isn't. He appears to be the only one on the island not twisted by the ingrown nature that exists there. However, it should be added that his hobby is to sit and watch cows. Connors lets us understand how Billy thinks. He lets us know that his body is not a prison but a means of escape as he pursues a part in an American film.
Morgan Trant is Helen, who makes Billy's life a study in frustration. She is attractive in her way. Billy's feelings for her are that of any teenager. She, on the other hand, rebuffs and teases him. The two are in both perfect balance and perfect contrast...a pleasure to watch the interaction.
Helen's younger brother, Bartley (Morgan Hollingsworth), is constantly abused by her. This includes breaking eggs on his head and punching him. While her obsession is torment, his obsession is to obtain a telescope, an item totally out of his teenage budget.
The isolated islands infrequently received newspapers. Johnnypateenmike (Walter Ritter), an obvious descendent of a long-lost town crier, proudly announces the news of the day in sisters Kate and Eileen's shop (Dana Hooley and D'Ann Paton). Their main concern seems to be Billy and his whereabouts, since they are also Billy's aunts.
The other eccentrics of Inishmaan include problematical Babbybobby (Rich Carrillo), the compassionate Doctor McSharry (Charlie Riendeau), and Mammy (Trina Kaplan) whom son Johnnypateenmike plies with voluminous amounts of liquor, attempting to hasten her death. It doesn't work.
The designers complement the play and each other, via Claudio Raygoza's revolving set, lighting, and strange video. Jennifer Brawn Gittings' costumes are authentic in every detail. Matt Lescault-Wood's arranged music and effects set the mood for Depression-era Ireland.
The plot twists and turns every few minutes. One constant is the quality of the players, who feel real yet have an interesting, almost comedic tone. The uncredited dialect coach deserves plaudits for a brogue that sounds authentic without the intensity of actual sounds experienced in Ireland.
