THEATRE REVIEW:
DRAMA AT INISH
30 MAY/11

JOHN COULBOURN,
QMI Agency
Rating: 2.5 out of 5

NIAGARA-ON-THE-LAKE — Although life is seldom that easy, it is often tempting to divide the theatre-going world into two parts — those who flock to it to escape life and those who flock to the theatre to embrace it. And if it were indeed that easy, then the twain ’tween the two would probably meet in a little town on the Irish sea coast named Inish, in a play by Ireland’s Lennox Robinson, titled, on occasion, DRAMA AT INISH - A COMEDY and, on others, IS LIFE WORTH LIVING?

Now, if you’ve never heard of the play, it’s not surprising considering that, though Lennox’s contribution to the Irish theatrical canon is considerable, records show that this play last graced a Canadian stage in 1934. Prior, that is, to its current revival here at the Shaw Festival, where it opened on the Court House stage Friday. And, frankly, in the wake of that revival, one is left with the niggling suspicion that both camps — those looking to escape life and those hungry to embrace it — have reason to wish Shaw’s artistic director Jackie Maxwell, who directs this production, had simply let sleeping dogs lie. For while it is not particularly vicious, this particular “dog” turns out to be one of those yappy little Irish terriers who, despite being adored by its family, is capable of driving anyone else in the immediate vicinity to distraction.

The plot is simple: After a series of low-brow summer entertainments, John Twohig (Ric Reid), the owner of Inish’s only theatre, has, at the encouragement of the local prelate, engaged a more upscale (read pretentious) theatrical troupe who will, as the summer progresses, present only the works of the Russians and Scandinavians — works such as A Doll’s House, The Cherry Orchard and An Enemy of the People. Happily, as owner of a hotel and public house, Twohig can also offer lodging to at least some of the players as a bonus. Thus, all the action takes place in a private sitting room in his hotel, run with the assistance of his clothes-horse of a wife (Donna Belleville) and his absent-minded sister, played by Mary Haney.

Initially, this high-minded playbill engenders a fair bit of excitement among the good people of Inish, but the troupe of players, led by the flamboyant Hector de la Mare (Thom Marriott, in full Dracula mode) and his leading lady, Constance Constantia (Corrine Koslo as a mini-Morticia) hasn’t even begun to unpack before things start to go wrong.

The problems are initially isolated, but as the players present their demanding repertoire, the entire town starts to fall apart as the citizens of Inish start to see the drama in the life around them. Husbands try to kill wives, young swains try to kill themselves and politicians become thoughtful, behaving for the good of the citizenry and not on the basis of personal gain nor party favour. What, oh what, will put the cock-eyed world of Inish to rights and save its citizens from high art?

Lumbered with a script that likely would have been distilled to its very essence and served up as a second-rate sitcom had it been written a scant half century later, the cast — supported here by Maggie Blake, Julia Course, Craig Pike, Peter Krantz, a touching Andrew Bunker, Ken James Stewart, James Pendarves and Jay Turvey — trots out its best Irish accents and tackles the story with an enthusiasm that is commendable, if somewhat stately, considering the fare.

But, finally, despite a worthy assist from set designer William Schmuck and lighting designer Louise Guinand, even their best efforts simply aren’t enough. DRAMA has its moments, but not enough to make a memorable comedy. There’s not enough fun for a meaningful escape from life nor enough life to make you want to embrace it.