By Christy Hudson
If you don’t have a problem understanding Irish accents, you may be interested in checking out Weber State University Theatre’s production of The Cripple of Inishmaan, written by Martin McDonagh. It follows several residents living in a small coastal town in Ireland in 1934, when they hear that a Hollywood director is going to be filming a movie on another nearby island. Some of the younger residents want to sneak over to the island and see what they are filming, including a young man born crippled, who imagines how great life would be for a movie star. Director Tracy Callahan’s production is both hilarious and tragic.
Callahan Crnich plays the titular cripple, Billy. This character comes with a lot of feelings, as we witness the humiliation that others put him through, as well as the pain and sorrow he endures. He is an incredibly sympathetic character, and Crnich puts a lot of emotion into his performance. Even if Billy does not say what he is thinking or feeling, we can see and understand it through his facial expressions and actions. Crnich’s portrayal is very touching and endearing. One scene that really stands out is in the second act, when Billy is alone and sick in a hotel room. That scene and monologue are acted beautifully.
Some characters are more likeable than others. Two likeable ones are Billy’s aunts Kate and Eileen, played by Hailey Weeks and Megan Mclean. The aunts are two of the few characters who actually show Billy any kind of love and sympathy. Weeks’ and Mclean’s performances are sweet and funny (I especially related to Eileen’s habit of keeping some of their store’s candy for herself; I would probably do the same thing if I owned a store like that). One thing that was blatantly obvious, however, was how easy it was to tell that the old-woman wigs and makeup were not real, even from the distance of the audience. The actresses are young, but the hair and makeup could have been blended a little better to make it less obvious that they are fake.
The only two other characters who show any genuine kindness, concern, or sensitivity toward Billy and his feelings are Babbybobby (Cory Thompson) and Doctor Mcsharry (Riley French). Thompson makes Babbybobby come off as thoughtful and interceptive. I feel it is a captivating take on the character because it makes him seem more humane than a lot of the other characters, and he seems trustworthy. Doctor Mcsharry is also one of the more honorable characters, who is often the voice of reason amongst the other people in their town. As such, a lot of French’s performance includes trying to keep the gossip accurate, leading to several amusing scenes.
And then there are the characters who drive you crazy because they just aren’t very good people. Christian Johnston plays Johnnypateenmike, the town gossip who takes pleasure in being the first to know things and then telling everyone else (naturally, everyone else finds him annoying). Johnston is very funny in this role, so even though you kind of hate him, you can still like him. Johnnypateen’s “Mammy” is played by Gloria Wurst, and she is one of the funniest characters in the show. She’s an old widow with no inhibitions, who doesn’t have a problem with drinking herself to death (her son also does not have a problem with this because he is tired of sharing a house with her). Everything she says is brutally honest, and Wurst’s performance is hilarious. Almost every line she says gets a laugh.
Morgan Hekking plays Helen, a crude and violent girl whom Billy has a crush on. Jake Stubbs plays her brother Bartley. They also have a lot of funny lines. Bartley likes candy, and Helen likes throwing eggs at people. They both make fun of Billy a lot, for being both a cripple and an orphan. The characters themselves are quite shallow, and they’re also sort of terrible people (particularly Helen). But Hekking and Stubbs also make the characters fun, making you simultaneously think, “Where are these children’s parents?” and “Kids will be kids.” None of the characters are truly one-dimensional; they all have some amount of depth, and these two are no exception.
The stage rotates between three sets. Set designer Sam Transleau has built the sets on a turning stage, so the scene changes are quick and smooth, which helps keep the show moving. The actors do not wear microphones, so for the most part the dialogue is picked up through the stage mics hanging from a wire above them. This isn’t a problem, and they can be heard clearly enough, as long as you can understand the Irish accents. A lot of the work that Sound Designer Jessica Greenberg is subtle, such as the sound of the ocean. One small detail I appreciated was the sound of a splash when something was thrown into the ocean. It was thrown offstage, and there was a perfectly-timed splash. Not everyone will notice such a small detail, but it does create a nice effect.
Of course, everyone spoke in Irish accents the whole time, and I thought they all sounded authentic (although I am far from an expert). The costumes, created by Costume Designer Catherin Zublin, feel like authentic 1930’s era Irish fashion.
The Cripple of Inishmaan is classified as a dark comedy. I personally would choose to put the emphasis on “dark.” There is plenty of humor, but it also deals with a lot of serious themes, and the tone becomes incredibly gloomy and depressing. The switch between the two often happens quickly, sometimes within a single line, and sometimes without there having to be any dialogue. Crnich does a lot of this, as Billy is the most emotional character, but other characters do this as well. One second, prospects are sad, then hopeful, then sad for a different reason, and then funny. With expressions, body language, and subtext, the play becomes deeper and more meaningful. The second act is filled with multiple plot twists; it’s amazing how many can fit into such a short amount of time. I did not know any details about the plot prior to this performance, so for me, it was a little bit of an emotional roller coaster. It makes it captivating and thought-provoking, for those who are interested in plays that are not always what they seem on the surface level.
Weber State University’s production of The Cripple of Inishmaan is full of great performances. It also features some live Irish folk music, provided by guest music artists Kate Mcleod, Mark Stevenson, and Austin Weyand. They set the Irish mood by playing before the show starts and during the intermission, and they are incredibly talented with their various instruments. This production is put together well. If you are interested in shows that are funny, deep, and a little mysterious, it could be a good one to look into.
The Cripple of Inishmaan includes language and some adult themes. Weber State University Theatre advises suitable of ages 16 and older.
Weber State Theatre Presents The Cripple of Inishmaan, written by Martin McDonagh
Val. A. Browning Center, Allred Theater 3848 Harrison Blvd. Ogden, UT 84408
October 5-7 & 10-13 at 7:00 PM, matinee October 13 at 2:00 PM
Tickets: $13 adults, $8.25 students, $11 seniors/military
Contact: 801-626-8500
Weber State Performing Art’s Facebook Page
The Cripple of Inishmaan Facebook Event
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