The Ferryman

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And as she distractedly descends that long staircase, I had a brief flash of Mary Tyrone, intentional or not. Mark Lambert, who originated the loquacious Uncle Patrick, and Dearbhla Molloy who did the same for the ornery Aunt Patricia, were unmatchable, or so it seemed. Yet, two familiar New York character actors step into the roles and give performances every bit as vibrant while adding newly-found nuance.

Fred Applegate has heretofore specialized in musical comedy Young Frankenstein , Sister Act to the extent that one might have expected him to fill Patrick with charismatic blarney and let it go at that.

There is a physical vulnerability to McDonough—the way she gingerly crosses the kitchen, for example, so as to hide her painful infirmity from the others—that pays off when we learn of the events of the Easter Rebellion, which turned her irremediably bitter. Fionnula Flanagan, now in her final week, is giving an unforgettable and altogether brilliant performance as Aunt Maggie Faraway. The estimable Blair Brown takes over the role on April Either he has gotten stronger or my increasing familiarity with the text has allowed me to pay more attention to the character.

Dale embodies the conflicted priest, with his own moral dilemma amplified as he more clearly registers his complicit guilt. Also now featured is Shuler Hensley as Tom Kettle. Could Butterworth have been thinking of Hensley when he devised the role?

Five reasons you should see The Ferryman

This makes his dinner-table speech, his late-night scene with Caitlin, and his final entrance with Oisin even more affecting than before. In fairness, let us note that two of the principals are not thus far as strong as their predecessors.

When Donnelly related her family history to Butterworth, her partner, he started to conceive this fictionalized account. Butterworth carefully leaves this unspecified for the audience, just as it is for the extended Carney family. On a fourth viewing, one can glean that the author has carefully spelled this out in plain sight, albeit in a purposely oblique manner.


The action takes place in August , at the end of the Hunger Strike. Bobby Sands, the first of the victims, died on May 5, All of which only supports the conclusion that every line and action of the play is carefully wrought by Butterworth, with nothing extraneous. Played by Fionnula Flanagan a radiant holdover from the original Broadway cast and a Tony nominee , Aunt Maggie often tells the same stories.

But whether accounts of grisly battles of faeries from a misty, mythic past, or of a lost love of a mere seven decades ago, they are tales that only tighten their grip with repetition. Just look at the widening eyes, scared and ecstatic, of the little girls listening.

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As dazzlingly directed by Sam Mendes, this sprawling portrait of a rural Irish family during the Troubles makes singularly dexterous use of a basic tool often considered old hat in the theater these days: a juicy, suspenseful and impeccably orchestrated plot. But not only that.

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Because without ever seeming self-conscious, Mr. Butterworth tells a spellbinding story that is also all about storytelling. And I mean all forms of stories — national folklore, family legends, political news, even recollections of things that occurred only minutes earlier, which had seemed to turn into anecdote even as they were happening.

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Fortunately, the team of performers now in residence at the Jacobs is considerably better than that. Feelings run closer to the surface with this new cast. Perhaps that comes with its being mostly American. Hidden loves and suppressed animosities are now worn more visibly and emotively, and certain revelations now feel perhaps less startling. This is particularly true of the two women who vie for dominance in the household of Quinn Carney a magnetic Mr.

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James, in a role that finally makes full use of his heroic potential.