Review: Abbey Theatre's THE PLOUGH AND THE STARS Mixes Classic with Modern at Kennedy Center

As evidenced by the "ticket line" notice that greeted me when I tried to log into the Kennedy Center's Wi-Fi last night, theatre subscriptions for the next two seasons are very much in demand - presumably because those subscriptions, which recently went on sale, will allow access to the Broadway juggernaut that is Hamilton in the 2017-2018 season. In the midst of this frenzy, a uniquely Kennedy Center offering might get slightly (and sadly) overlooked by the masses eager to experience the newest and brightest thing in popular culture. The Kennedy Center's Ireland 100 Festival began this week and commemorates the 1916 Easter Rising, which led to Ireland's independence. Some of the best of Irish theatre, dance, music, literature, and more can be experienced at this venerable arts institution through June 5. For an international affairs and arts junkie such as myself, these regular international festivals stand out amongst the myriad of offerings at the center each year, and are among the many reasons why we should feel privileged to live in Washington, DC and experience all that it has to offer.

A production of the Irish classic THE PLOUGH AND THE STARS could be called one of the centerpieces of the festival because of its heavy focus on that seminal event in Irish history, the 1916 Easter Rising. It also provides local audiences a chance to see one of Ireland's most lauded theatre companies in action. The Abbey Theatre is Ireland's national theatre and has received acclaim worldwide, but it's also where Sean O'Casey's premiered in 1926. The production that played the Kennedy Center on May 18 and 19 combines the classic text with some modern touches under Sean Holmes' direction.

The four-act play introduces us to a multitude of characters in a Dublin tenement in acts one and two. We get insight into the challenges of daily life - illness, relationships, and finances, and the like - and they, naturally, debate about those sticky subjects of religion and politics (one of the tenants is a Protestant, others are Catholic). These discussions set the action in acts three and four up quite nicely. The latter half of the story occurs less than a year later, and the tension in the streets is at a boiling point. O'Casey's play, in effect, offers commentary on the event and the context in which it occurred. By experiencing the daily life before and during the uprising through the lens of "everyday types of folks" - some engaged in the fight, and some feeling the effects due to proximity (whether geographic or otherwise) - like the Clitheroe's and their neighbors, it's far easier to the Easter Rising event less as something that spurred change in an abstract kind of way, and more of something that directly impacted the individual.

While some knowledge of that time in Irish history, the fight for independence, and the complex sociopolitical landscape may add to one's appreciation for the play, it's not necessary to have it. Many of the themes that O'Casey hones in on are relevant to some modern uprisings in other areas of the world, while still being grounded in a uniquely Irish context. A modern soundscape and the inclusion of angry and passionate songs with patriotic overtones (Philip Stewart), modern touches such as remote controls to turn on music in a pub/meeting house, modern dress (jeans, boots, and the like, designed by Catherine Fay), and the cast's use of microphones to deliver declaratory speeches or songs at key moments in the play (a la Spring Awakening), allows contemporary audiences to connect with historical piece in a more immediate way. A metal tower, representing the tenement (Jon Bauser), adds to the gritty undertone of this production.

A stellar ensemble cast including Ian-Lloyd Anderson (Jack), Kate Stanley Brennan (Nora), David Ganley (Fluther), Janet Moran (Mrs. Gogan), Eileen Walsh (Bessie), among others delivers natural and believable performances as one cohesive unit. Not a weak link in the bunch, it's an example of the best kind of solid ensemble acting. As the de facto leads Ian-Lloyd Anderson and Kate Stanley Brennan deliver emotional performances that capture the human impact of sociopolitical strife. Brennan is particularly heartbreaking in the latter half of the play.

All in all, it's a shame this production only played the Kennedy Center for two performances, but for the lucky theatergoers that had a chance to see it, it is certainly a memorable one.

Running Time: Over two hours and 30 minutes including an intermission.

THE PLOUGH AND THE STARS played the Kennedy Center's Eisenhower Theatre on May 18-19, 2016. For further information on the Ireland 100 Festival, which continues through June 5, consult the festival page on the Kennedy Center website: http://www.kennedy-center.org/festivals/ireland/index.

Photo: Ian-Lloyd Anderson (Jack Clitheroe) and Kate Stanley Brennan (Nora Clitheroe) in THE PLOUGH AND THE STARS by Sean O'Casey, directed by Sean Holmes. By Ros Kavanagh.

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