The world of Irish theatre is about to get a dramatic makeover, thanks to the visionary efforts of Druid Theatre Company and its artistic director, Garry Hynes. Hynes is bringing back to life the Victorian melodrama, The Shaughraun, by Dion Boucicault, a playwright who, despite his initial success, fell out of favor with the rise of realism and psychological drama. Hynes argues that Boucicault's work is at the root of modern Irish theatre, and her decision to stage The Shaughraun is intriguing, to say the least.
What makes this production even more fascinating is the pairing of The Shaughraun with Eugene O'Neill's Moon for the Misbegotten. Hynes explains that these plays, though different in style, are part of the same conversation, addressing the Irish diaspora and the legacy of the melodramatic form. The visual design, created by Francis O'Connor, is a single set dominated by a 19th-century Ordnance Survey map of Ireland, linking Boucicault's west of Ireland with O'Neill's United States. This design choice is not just aesthetically pleasing but also carries a deeper meaning, reflecting the British state's colonial administration and the cultural conquest through language and geography.
The cast, including Eileen Walsh, Marie Mullen, Aaron Monaghan, Rory Nolan, and Megan Cusack, approach the material with complete seriousness, refusing to treat Boucicault's work as camp or a mere crowd-pleaser. Monaghan, who plays Conn, the Shaughraun, believes that Boucicault is a genius, and his reassessment comes from a deeper understanding of the playwright's politics and the play's underlying themes. He highlights how Boucicault's heroes are ordinary people who outwit the establishment, challenging the stereotypical Irishman.
Nolan, who plays the villain Corry Kinchela, emphasizes the importance of finding the emotional reality to ground the over-the-top script. He draws connections with Beckett characters, but quickly realizes that Boucicault's text should be taken at face value. The actors' performances are shaped by Boucicault's understanding of the audience's rhythms and his own theatrical instinct, which is embedded in every scene.
The production of The Shaughraun is a testament to Druid's commitment to sustainability and innovation. The shared visual environment, designed to subtly shape the actors' performances, allows for echoes to emerge between the two plays. This approach is not new to Druid, as seen in their previous productions of Riders to the Sea and Macbeth. The company's use of repurposed scenery and props reinforces their distinct aesthetic, creating big shows with small footprints.
In conclusion, Garry Hynes' decision to stage The Shaughraun is a bold move that challenges the audience's perception of Victorian melodrama. By pairing it with Moon for the Misbegotten, she invites us to reconsider Boucicault's legacy and the extent to which his work continues to influence modern Irish theatre. The production is a testament to the power of theatre to transport us to different worlds and challenge our understanding of the past and present.
