Venue: Roslyn Packer Theatre at Walsh Bay (Sydney NSW), Nov 18 – Dec 21, 2019
Playwright: Martin McDonagh
Director: Paige Rattray
Cast: Noni Hazlehurst, Hamish Michael, Shiv Palekar, Yael Stone
Images by Brett Boardman
Maureen is full of resentment, because she has to live at home to care for her incapacitated and very demanding mother Mag. After a passionate night with Pato however, Maureen starts to think of a brighter future, and in Martin McDonagh’s The Beauty Queen Of Leenane, we wonder how much of destiny is indeed predetermined, as our protagonist navigates what appears to be a new shift in luck.
The play is savage in its depictions of hard lives. Maureen and Mag are Irish women of the lower classes, and fending for themselves is nigh on impossible, as made abundantly clear in this painful story, about the compounding disadvantage of living with disability and poverty, as well as the structural sexism that functions as a major component keeping them at the bottom of the pile. McDonagh’s comedy is of the darkest variety, becoming pitch black as we approach its end.
It is a magnificently accomplished production that director Paige Rattray has assembled. Humour and drama are balanced exquisitely against dread and revulsion, for an entirely mesmerising experience at the theatre. Production design by Renée Mulder offers sensational rendering of the Folan’s home, both inside and out, for a vision of unimaginable decrepitude, reminiscent of the stuff nightmares are made of. The Beauty Queen Of Leenane is a masterpiece in the style of the modern Gothic horror; although devoid of supernatural elements, its atmosphere is unmistakably ominous.
Stunning performances by all four actors have us absolutely riveted. Maureen is played by Yael Stone who dances on a knife’s edge, in an intoxicating portrayal of a woman at the end of her tether, having us on the edge of our seats, with the psychological thrill of witnessing someone on the brink of losing her mind. Our perception of mother Mag oscillates precariously between humour and terror, as the fantastic Noni Hazlehurst masterfully manipulates her role to offer us immense entertainment.
Shiv Palekar has us amazed with his exceptional comic timing, as the puerile and very laddish neighbour Ray, able to deliver huge laughs with every one of his precise and intuitively executed punchlines. Maureen’s object of affection Pato too is a funny character, made tender and surprisingly earnest by Hamish Michael, who brings valuable sentimentality to the often brutal narrative.
Maureen’s world is a horrible existence, one that she has been taught to never leave. Poverty keeps people in their place. It works as a form of indoctrination that hopes to make large numbers feel a sense of acceptance of their stations, so that they can remain exploited for generations, if not for eternity. The two women are stuck at home, languishing and never daring to move beyond the familiar. They will not be rescued, but the rules are there ready to be broken, if only they were to choose defiance.