ONSTAGE
Cain and Abel, Joseph and his eleven brothers – the Old Testament makes much use of the trope of sibling rivalry. And then there’s Esau and Jacob in which the elder brother sells his inherited position as future head of the family to the younger. Apparently it is this narrative which T.C. Murray had in mind when constructing his play, 1910 drama Birthright, but which more contemporaneously reminds the audience about debates surrounding the heir and the spare which have graced our news recently. Incorporating elements of both Synge’s lyricism and Ibsen’s realism this is the first time in 90 years that Murray’s play has been seen in London and which is currently playing at the Finborough as part of their always highly anticipated ReDiscovery season. It was a sensation when it played originally at Dublin’s Abbey Theare, during which it went through three different endings largely because the audience of the time was scandalized by the brutality of its denouement. We’re rather less squeamish now and, without saying what it is, director Scott Hurran has made the most pleasing and artistically correct choice to present us with a piece that avoids melodrama in favour of a deeper psychological underpinning, all in a satisfying 60 minutes playing time.
Older son Hugh is the golden boy, at least as far as his mother Maura is concerned, and indeed the rest of the village when he captains the winning hurling team. Father, Bat, favours second son Shane who works hard on the family small holding and would make a much more suitable successor to the business in due course. But the “rules” state that it is the elder who should inherit and the conclusion has been reached that Shane will instead have to emigrate to the brave new world of America. The events of a single day conspire to reverse this decision and sets the two young men at each other’s throats leading to an explosive climax. The father’s rampant hostility and the mother’s all too evident favouritism mean that they are also implicated in the tragic events and all survivors are left with what will be a burden of guilt going forward.
Hurran’s direction of this intense piece is little short of masterly and he marshals all the different elements to create the ambiance of a bog infused corner of Ireland and its rain soaked atmosphere to perfection (though lines about the pervading cold and damp did provoke some ironic reactions from the audience on one of the hottest nights of the year). He has assembled a talented quintet of actors who breathe life into their characters and handle the rural Irish accents and often tricky syntax with a good deal of aplomb. True, there were some hesitant moments and word mangling in the initial few minutes but once the show settled into its rhythm it powered through to its inevitable climax with force and vigour. There’s not a weak link in the cast but there’s a stand out performance from Rosie Armstrong as the peace keeping matriarch trying desperately to control her menfolk and fate. Thomas Fitzgerald as Hugh also makes a deep impression. His devil may care attitude and blindness towards the feelings of the other family members contributes as much to the tragedy as the father’s rancour and his sibling’s jealousy; Fitzgerald is adept at putting over his character’s cocksure but uncomprehending demeanour.
I’m constantly surprised by the inventive way in which the Finborough manages its tiny space and this production designed by Raphella Philcox is no exception. It helps that here the family room is meant to be small and claustrophobic but it is all done so naturally that you can almost smell the peat on the fire. Even with limited room, the climactic fight is superbly coreographed by Dimitris Kafataris, especially bearing in mind that there is an audience on three sides and sitting close enough to see the whites of the actors’ eyes. Caja Hamilton’s lighting is also excellent and makes wonderful use of chiaroscuro effects to heighten the tension. That said the production might want to rethink its relationship with the real candles used – at one point I feared there might be an actual fire which would have meant a fourth alternative ending and one that doesn’t bear thinking about! Recommended.
Production photos by Craig Fuller
Birthright is currently at the Finborough Theatre; click here
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2nd from Bottom 