By Seán O'Casey
Druid
Siamsa Tíre, Tralee
February 15, 2025
*****
Comedy is often viewed as an inferior genre. There are those who believe that the Abbey stage should be reserved for serious, provocative plays, the likes of which flourished during the 20th century. Others feel that the big, political Irish plays have already been written.
It is important to acknowledge that when the likes of Synge, Keane, Friel and Murphy were creating their best work, there were arguably fewer alternative forms of entertainment to compete with. Nowadays, smartphones and smart TVs provide unlimited access to a host of streaming services and free videos online. A lot of theatres around the country are struggling just to get people in the door.
Hence, do we really need new, dark, depressing plays about the Catholic Church, COVID 19 or the housing crisis? I know I do not. God forbid people might want to enjoy their one night out a week after coughing up €20 or €30 for a ticket.
Which brings us to Druid's revival of Seán O'Casey's Three Short Comedies, a production which shows that even an established theatre company, predominantly known for producing serious plays, do not take themselves too seriously. For an outfit that rarely dabbles in farce, Druid demonstrate that they can do it just as good, if not better than the rest.
More importantly, this production proves that good art can also be good fun. It does not have to be pure and utter hardship that leaves you praying for the final curtain.
A Pound on Demand tells the story of two drunkards looking to withdraw money from the post office in order to keep their drinking session going. In Bedtime Story, a seemingly virtuous man suffers an existential crisis after bringing a liberal, young woman back to his bedsit. Finally, The End of the Beginning explores just how badly things can go when the housework is left to incompetent men.
I saw this production in 2021 and enjoyed it immensely, but this time, it felt like the ante had been upped; as if those involved acknowledged the success of the original run, yet still set about making subtle improvements. The exercise scene in The End of the Beginning, for example, which I recall long overstaying its welcome in the original production, now seems to work much better.
The cast really is second to none. Marie Mullen proves to be a marvellous addition; her unmistakable voice reaching the back row with crystal clear clarity; every syllable of every word enunciated exquisitely. Liam Heslin's assuredness on stage continues to grow year-on-year, showing us why he features so regularly on Garry Hynes' cast lists of late. Venetia Bowe does not have all that much to do, but plays her part well nonetheless. Caitriona Ennis, a fireball of vigour, bosses her way around the stage to great amusement. Marty Rea is much busier this time round, taking on substantial roles in all three plays, utilizing his remarkable physicality and flexibility to great effect.
But it is Rory Nolan who steals the show. I have long believed him to be the most comedically gifted actor working in Irish Theatre, and the buffoonery in this production really gives him a chance to shine. The accents, facial expressions, timing, delivery of lines; not to mention the ridiculous toupée, which he keeps having to fix throughout, much to the audience's delight.
The musical number in The End of the Beginning is truly one of the most memorable set pieces from a Druid production of recent times. The Three Short Comedies poster, featuring Nolan and Rea in full flight, perhaps their most iconic ever?
In the wise words of Father Ted - Tremendous fun.
