Irishtown
In the hilarious, briskly paced Irishtown, written by Ciara Elizabeth Smyth and directed for maximum laughs by Nicola Murphy Dubey, the audience is treated to the antics of the successful Dublin-based theatre company, Irishtown Players, as they prepare for their upcoming Broadway opening. According to Dubey, the play “deals with the commodification of culture, consent and the growing pains that come with change.”
Irishhtown is also a sendup of theatre-making and how “political correctness” constrains it, as it satirizes the sexual relationships that occur without restraint, in spite of the constraints. This LOL production twits itself and raises some vital questions about theater processes. A world premiere at Irish Repertory Theatre, Irishtown runs until May 25, 2025. Because it is that good, it should receive an extension.
A Luminous Kate Burton Heads up the Cast
Tony and Emmy-nominated Kate Burton centers the action as Constance. Burton is luminous and comical as an understated diva with years of experience, who knows the inside gossip about the play’s director, Poppy (the excellent Angela Reed). Apparently, Poppy was banned from the Royal Shakespeare Company for untoward sexual behavior with actors.
Burton, smashing throughout, has some of the funniest lines which she delivers in a spot-on, authentic, full-throttle performance. She is particularly riotous when Constance takes umbrage with Poppy, who in one instance, addresses the cast as “lads,” trying to corral her actors to “be quiet” and return to the business of writing a play.
What? Since when do actors write their own play days before their New York City debut? The answer: Since they have no choice but to soldier on, and just do it!
The Irishtown Players become upended by roiling undercurrents among the cast, playwright, and director. Sexual liaisons have formed. Political correctness didn’t stop the nervous, stressed-out playwright Aisling (the versatile Brenda Meaney) from sexually partnering with beautiful lead actress Síofra (the excellent Saoirse-Monica Jackson). We learn about this intrigue when Síofra guiltily defends her relationship with the playwright, bragging to Constance about her acting chops. As the actor with the most experience about how these “things” work in the industry, Constance ironically assures Síofra that she obviously is a good actress and was selected for that reason alone and not for her willingness to have an affair with Aisling.
Truth Clarifies, Situation Worsens
The rehearsals become prickly as the actors discuss whether Aisling’s play needs rewrites, something which Quin (the fine Kevin Oliver Lynch) encourages, especially after Aisling says the play’s setting is Hertfordshire. As the tensions increase between Quinn and Aisling over the incongruities of how an Irish play can take place in England, Constance stumbles upon another sexual intrigue when no one is supposed to be in the rehearsal room. This unwanted complication eventually explodes into an imbroglio, and Aisling quits.
Ingeniously, the actors try to solve the problem of performing no play by writing their own. Meanwhile, Poppy answers phone calls from American producer McCabe (voiceover by Roger Clark), cheerily stringing him along, affirming that rehearsals of the play are going well. But what play?
With stream-of-consciousness discussions and a whiteboard to write down their ideas, the actors attempt to create a play to substitute for Aisling’s. They intend to create a pure Irish play, based on all the elements found in Irish plays from time immemorial to the present. As a playwright twitting herself about her own play, Smyth’s concept is uproarious.
The actors discover that writing an “Irish play” is easier said than done. They are not playwrights. And regardless of how exceptional a playwright may be, it’s impossible to write a winning play in two days. And there’s another conundrum. Typical Irish plays have no happy endings. Unfortunately, the producers liked Aisling’s play because it has a happy ending. What to do?
Perfect Irish Storylines, Except…
In some of the most hilarious dialogue and direction, we enjoy how Constance, Síofra and Quin devise their “perfect Irish storylines,” beginning with initial stock characters and dialogue, adding costumes and props taken from the back room. Their three attempts allude to other plays they’ve done. One farcical attempt employs flour from the flour scene in Dancing at Lughnasa. In fact each attempt turns into LOL scenes that are near parodies of moments in the plays referenced. However, they fail in one particular aspect. Their plots touch upon the subject of Aisling’s play. This could result in an accusation of plagiarism. But without a play, they will have to renege on the contract they signed, leaving them liable to refund the advance of $250,000.
As their problems augment, the wild-eyed Aisling returns to attempt violence and vengeance. During the chaotic upheaval, an ironic and surprising revelation explains the antipathy and rivalry between Quin and Aisling. Will the Irishtown Players ever make it to New York City for their Broadway debut?
Irishtown: Not to Be Missed
Irishtown is a breath of fresh air with laughs galore. It reveals the other side of theater, and shows how producing original work is “darn difficult,” especially when commercial risks must be borne with a grin and a grimace. As director Dubey suggests, “Creative processes can be fragile spaces.” With humor the playwright champions this concept throughout her funny, dark, ironic comedy that is also profound.
Kudos to the crackerjack ensemble work of the actors. Praise goes to the creatives Colm McNally (scenic and lighting design), Orla Long (costume design), and Caroline Eng (sound design).
Irishtown runs 90 minutes with no intermission at Irish Repertory Theatre, 132 West 22nd St. until May 25.
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