McDonough’s Curve production of The Beauty Queen of Leenane is much like the hot drink Complan:
simple, full of flavour and has the odd lump thrown in that you’re forced to
swallow with shock.
On the box, it’s a story of Maureen (Michele Moran) a forty year
old virgin, trapped in a rural Irish cottage. Whilst hoping for love, Maureen
is left caring for her crafty, manipulative mother Mags (Noran Connolly). It’s
when the box is opened and a chance of romance is stirred in along with
misdelivered letters and a poker that things start to boil over.
One of the main ingredients is the sourness between mother
and daughter. Dutiful Maureen is tired of serving porridge and Complan whilst
her sisters are happily married. Mags is forever scheming to avoid a care home,
whilst “waiting for the news”, complaining of her bad hip and shuffling pots of
urine to the kitchen sink. In the midst of their simmering home life are
sprinklings of the brothers; Dooley (Andrew Macklin) and Pato (Stephen Hogan),
who add spice and stir things up.
Moran plays her character of Maureen seamlessly and with
utter conviction. From doting daughter to the sex crazed singleton, she helps
bring the hidden lumps to the surface in a captivating twist of events. She is
an actor completely immersed in her role and it pays off superbly well when the
whole plays’ flavour is shifted. She interacts well with Hogan, who also fits
comfortably into his role and at times helps heighten humour for the audience
when awkward and cringe worthy moments arrive.
Connolly is a convincing mother figure who manages to pull
off sweet and evil easily and tastefully. She lightens dark events with
brilliant black-comedy lines which are all well delivered and timed, which also
helps to move the play along. The only qualm with her character is minor, her
jokes feel a little repetitive but even that in turn reflects upon their
mundane life style. The same can be said
for Macklin. Although his Irish accent is questionably Welsh at times, he fits
comfortably in the simple cottage, makes the most of the set and his grudge
over a tennis ball is both hilarious and tense, proving to be one of the plays’
highlights.
Originally written by Martin McDonagh, Paul Kerryson’s
direction brings it to Leicester’s Curve stage
in a simple and hugely effective way. The simplicity works in the plays favour
and allows attention to be focused on the actors themselves and the events. The
lack of complications within its direction allows the four actors to progress
through scenes with ease and it’s refreshing to see a play which doesn’t have
intricate and overpowering style.
Juliet Shillinford’s set design was in no way forgettable.
The details were subtle and hugely effective. Small elements such as the
working stove and kettle (constantly heating Mags demands), the dirty socks and
Irish memorabilia made the whole play more authentic. The sound of crunching
gravel outside played to an actor’s exit or entrance and the rain and wind
lashing against the window were highlights which magnify the brilliance which
has gone into making this play a charming success.
As a whole it’s definitely worth a watch. At times it lacks
subtlety and keen viewers may see the twist coming, but even then it’s still a beauty of a play,
both captivating and absorbing.
