BWW Reviews: THE BEAUTY QUEEN OF LEENANE at IRISH CLASSICAL THEATRE

RIVETING IRISH FAMILY DRAMA

Dark and disturbing is the best way to sum up Irish Classical Theatre's polished new production of THE BEAUTY QUEEN OF LEENANE.

Unfolding in rural Ireland, this occasionally macabre piece tells of an aging mother (Mag) who lives with her 40 year daughter (Maureen). Through verbal sparring and manipulation, this co-dependent pair are brutal to each other, sharing their miserable lives and mundane daily existence. Mag Folan is riddled with maladies from "urine infections" to chronic back pain while Maureen is suffering from mental health issues. Their dismal lives allow little contact with others, save for 2 brothers in the town. Pato Dooley (Chris Kelly) is the dreamer of the two brothers, who attempts to woo Maureen with ideals of a better life in America, while Ray Dooley (Adam Yellen) is the bratty brother who would rather not bother spending any time with the Folan ladies. This psycho drama is reminiscent of "Grey Gardens" in it's fascinating story of a mother and daughter who need each other but appear to hate each other at the same time. Martin McDonagh's play has been produced before in the area, most notably in 2000 by Studio Arena, in which Josephine Hogan played Maureen. Now 16 years later, Ms. Hogan has assumed the role of Maureen's mother.

Kristin Tripp Kelley is utterly believable as the mentally unstable Maureen, hurling curses and desires of her mother's death about with venom. Costumed in drab frocks, with her pale skin and dark long wig, she embodied the role beautifully as the bullied, down trodden victim of both her mental illness as well as mother's constant demands and verbal abuse. When dressed up for a date with Pato, Kelly shows that she is a true beauty who can use her feminine wiles to get her man. Unfortunately, what appears to be a possible love connection goes awry for many reasons, many of which are due to her own paranoia. Tripp Kelley's arc from beginning to end was well paced and had the audience torn as to whether she or her mother were more damaged by their relationship.

Hogan is fascinating to watch as the self proclaimed victim of the household. Despite an ill fitting unfortunate wig choice, her nuanced facial expressions and Irish brogue were perfect as the haggard and feeble old woman. This juicy role allowed Hogan to become the vindictive matriarch who ensures that her daughter will share an unhappy existence. The play culminates in physical abuse that has to be seen, without giving away the plot. But the effects of mental illness takes their toll and we see that both mother and daughter ultimately may share some of the same mental disease. Ms. Hogan proves to be the manipulative conniver, attempting to convince anyone in her vicinity that she is weak and needs constant help with daily activities, all the while being fully able to care for herself when she is alone. Hogan's breakdown towards the play's conclusion was heart wrenching, showing Mag's vulnerability at her most desperate.

The evocative surroundings placed the audience appropriately on edge. The scenes were prefaced by eerie dissonant violins, dripping rain from the gutters, hard crunchy stones up the path to the house, and the incessant creek of Mag's rocking chair. The drab furnishings and effective lighting by Brian Cavanagh placed the audience on 4 sides of a house that truly no one would want to enter. Adam Yellen as Ray made it apparent that he wanted to get in and out of that house as quickly as possible, being disturbed by it's inhabitants behavior. Yellen was constantly in motion, uncomfortable and nervous around the Folans, and holding a lifelong grudge against Maureen for a childhood game that went awry.

Chris Kelly shone as the elder brother. He lent some needed comedic moments to this dark tale. Unable to realize the full extent of Maureen's mental instability, his Act 2 letter scene was perfect in showing his conflict over his desire to be with Maureen while balancing how she might potentially need to place her mother in retirement home in order to achieve her own happiness. Kelly's comedic timing and delivery were spot on as the likeable neighborhood lad who does his best to improve his own life, while trying to do the same for Maureen.

Director Vincent O'Neill's staging cleverly used all of the playing areas in this theatre in the round, most effectively in Mag's rotating easy chair. In a play that can border on camp and histrionics, he reigns in the potential for melodrama and allows it to play out convincingly, as if we are eaves-dropping on a very dysfunctional household.

Irish Classical Theatre is delivering a gripping evening of theatre, with dramatic intensity that often makes the audience gasp in it's revelation of the gritty reality unfolding before them.

Performances will take place at The Andrews Theatre, the home of the Irish Classical Theatre Company, 625 Main Street, Buffalo, now through May 17, 2015. Performances are Thursday through Saturday at 7:30PM with matinees on Saturday at 3PM and Sunday at 2PM.

Single tickets are $39 each. Student tickets, with a valid student ID, are $15 each. On Sundays, tickets for seniors are just $35 each.

More information, subscription packages and single tickets are available:

By Phone: (716) 853-ICTC (4282)

Online 24/7: www.irishclassicaltheatre.com

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