Much has happened to Martin McDonagh since he wrote The Cripple Of Inishmaan back in 1996.
He’s now an Oscar and Golden Globe winning writer and director, deploying his sledgehammer humour on the big screen, most notably in Three Billboards Outside Ebbing, Missouri.
Sydney audiences have a chance to revisit the Cripple Of Inishmaan with a fine production of the play at the Old Fitz Theatre in Woolloomooloo.
The cripple of the title is Billy, an orphan who lives in the care of his adoptive spinster aunts. He, like everyone else in Inishmaan, is bored and dreams of a better life elsewhere, anywhere.
The arrival of a Hollywood crew to shoot Robert Flaherty’s Man Of Aran creates an exit strategy for Billy but will he get away or will his plan be derailed by secrets and lies?
McDonagh unflinchingly holds a satirical mirror up to rural Irish life, its preoccupations, obsessions and insecurities. There are dark secrets and benevolent lies, family betrayals and belligerent blackmail, vengence and violence and eggs, lots of eggs.
The characters are cartoonish versions of people we instantly recognise and McDonagh, who spent his youthful Summer holidays in the west of Ireland, skillfully captures the cadence and musicality of the vernacular he would have tuned into as a young man.
He also challenges myths surround Ireland and Irish people. Are we friendly? Or simply nosy?
The result is painfully hilarious, poignant and profound. It may be that Billy is the least crippled member of the Inishmaan community.
The Mad March Hare Theatre Company’s production is faithful to the spirit of the dark humour and almost all the actors comfortably inhabit their characters and embrace the terrible beauty of the script.
William Rees, a young actor who lives with a disability, is impressively compelling as Billy.
Laurence Coy is a standout as the scheming village gossip Johnnypateenmike and Jude Gibson is outstanding as his alcoholic, bed-ridden mother.
A cleverly adaptable set, which makes the most of the limited space at the Old Fitz, is put to good use. A shop counter becomes a currach which becomes a bed.
Director Claudia Barrie’s attention to detail is impressive and she is well supported by lighting director Benjamin Brockman and production designer Brianna Russell.
While some of the Irish accents are a little sketchy, it would be churlish to say that this slight shortcoming takes away from what is a very enjoyable night of theatre.