(September 2011) It is rare that this writer can’t find something to complain about, but in the case of Drama at Inish, we couldn’t. We loved this gentle, unpretentious comedy and weren’t surprised that it pleased everyone else enough to induce the Shaw Festival to add half a dozen more performances to the original run.
Drama at Inish is a gentle, affectionate satire of Irish provincial people and the troupes of performers that toured through Great Britain during the 1920s. Most of the play’s characters live or work at a hotel in the quiet seaside town of Inish, where proprietor John Twohig has engaged the De La Mare Repertory Company to perform for the summer season in the hotel’s playhouse. The placid John (Ric Reid, in the nicest turn we’d seen from him in a while) and his wife Annie (Donna Belleville) run the hotel with the help of John’s spinster sister Lizzie (Mary Haney), a maid, and a boots.
But things change in Inish when the actor Hector de la Mare (Thom Marriott) and his wife Constance Constantia (Corrine Koslo) arrive at the hotel for their summer run. Their playbill will be different from the low-comedy variety shows and circuses that usually come to Inish; Hector’s traveling troupe plays “serious” theater. As Hector explains (self-importantly) to another guest:
I now confine myself entirely — with the co-operation of Miss Constantia — to psychological and introspective drama. The great plays of Russia, an Ibsen or two, a Strindberg — I think very little of the French.
To everyone’s surprise, the people of Inish flock to the playhouse night after night. In short order, they begin to identify all too closely with the heroes and heroines of A Doll’s House and Uncle Vanya and to imagine that they too are caught in the same sorts of tragedies as the heroes and heroines of Ibsen’s and Chekhov’s plays. Lizzie, for example, convinces herself that her life is blighted because a neighbor, Peter Hurley (Peter Krantz, as a delightfully hapless local politician), toyed with her affections by “skylarkin'” with her when they were both young. John Twohig’s son Eddie (Craig Pike), like a Chekhov character, comes to doubt that life is worth living after he fails, for the dozenth time, to persuade Christine Lambert (Julia Course) to marry him.
We have enjoyed Mary Haney so much in so many roles at the Shaw that it would be hard to say that the endearing Lizzie Twohig is the one we liked best, but every scene she plays in this play is a treasure. And Thom Marriott and Corrine Koslo, as the well-traveled, impossibly vain, and ever-theatrical leading man and lady, are inexpressibly funny. Hector and Constance live so much in the emotionally overcharged world of their plays that they never really leave it anymore; it’s no wonder that they pull the people of Inish from the real world into theirs.
As traveling actors, Hector and his company follow squarely in the tradition of the Crummleses, the 1830s repertory company affectionately portrayed by Dickens in Nicholas Nickleby. (See this post for some thoughts we had about the Shakespeare actors in Nickleby.) They also remained us a little of the traveling variety show performers who play so prominently in J. B. Priestley’s novel The Good Companions, which we read just last year. Hector and Constance are even closer relatives, dramatically speaking, of George and Lily Pepper, the vaudeville pair immortalized by Noël Coward in his wonderful one-act play Red Peppers, which we saw at the Shaw Festival in 2009 (see this post).
We don’t read the newspaper reviews of Shaw Festival shows very faithfully, although they’re easy to find on the internet, but at least one review we saw suggested patronizingly that Drama at Inish is not a very substantial play and doubted whether it was worth reviving. Of course, the very premise of Drama at Inish is to poke gentle fun at plays that professional critics do consider substantial! The themes of Drama at Inish may not be as profound as those in, say, Waiting for Godot or The Glass Menagerie, but its portrayals of human nature, with all the foolishness and vanity and self-absorption to which we are prone, are as true as true can be. That’s an accomplishment, and it’s good enough for us. Along with the wife of our bosom, we would have liked to have seen it again.
Until the Shaw’s 2011 playbill was announced, we were unfamiliar with the Irish playwright Lennox Robinson, who was a contemporary and colleague of the Irish playwrights Lady Gregory, J. M. Synge, and W. B. Yeats. We were grateful that director Jackie Maxwell did not insist that her actors use authentic, heavy Irish accents, which we would have had trouble understanding, and we hope for more Irish plays at the Shaw Festival. In the meantime, we were amused to see that one of the plays mocked by Drama at Inish, Ibsen’s masterpiece Hedda Gabler, will be on the playbill at the Shaw in 2012.
Nothing could make the case for a repertory acting company better than the trio of Drama at Inish, Bernard Shaw’s Candida (which we appreciated at the Shaw Festival earlier this year), and the Shaw’s 2011 one-hour lunchtime play, The President, an inordinately clever play to which we will not devote a separate post. Lorne Kennedy, the star of The President, played the lead role three years ago at the Shaw; we missed the show that year and were grateful to have a second chance to see it. The President is the most concentrated hour of laughs anyone is ever likely to experience, and if the motor-mouthed Mr. Kennedy is still up to this demanding role, we’d gladly see it again in another couple of years. If it’s revived a third time, we trust that Jeff Meadows will also return as Tony Foot, the vulgar New York cab driver that Kennedy transforms into a successful businessman and pillar of society in a mere 60 minutes.