BWW Reviews: Constellation Theatre Company's Darkly Comical Political Farce THE LIEUTENANT OF INISHMORE

Has one cat ever caused so many problems?

You'll find yourself asking this question a lot while watching Constellation Theatre Company's gory and darkly comical production of The Lieutenant of Inishmore. For a play that starts out rather simplistically, it goes on to reveal a shocking level of depth in the form of a political farce. Religious violence and a national struggle for independence pale in comparison to Ireland's leading terrorist returning home after learning his beloved pet has died.

It's the early 1990's and set against the backdrop of the Northern Ireland Peace Process is the bleak town of Inishmore in Galway Bay. As the play begins, Davey (Chris Dinolfo) is rushing into the dingy cottage of Donny (Mark Lee Adams) holding the corpse of a black cat while its guts fall to the floor. Realizing that the lifeless feline is Wee Thomas, the beloved cat of the notorious Irish Liberation terrorist Padriac (Thomas Keegan), they panic. Together they scheme about how to tell Padriac that his adored cat is dead, knowing full well that their fate may be the same as Wee Thomas when he finds out.

Writing with acerbic wit, playwright Martin McDonagh has created a memorable array of eccentric characters. The play frequently pivots the emotional ambience of a scene instantly, and Matthew Wilson's direction perfectly amplifies the effect.

Themes of death and despair hang over every character, yet they treat it with an attitude of nonchalance. No one pays any attention to the vigilante groups seeking justice, the constant fighting between Catholics and Protestants, or that Davey's 16 year old sister Mairead (Megan Dominy) passes time by shooting out cows' eyes. Padriac's rejection by the IRA as being deemed "too mad" seems to not alarm anyone at all!

What would disturb most normal people doesn't even generate a passing interest. It's in this indifference that McDonagh's play makes a profound political statement about our ability to become numb to the violence which fills our world.

Putting an exclamation point on that observation is the exquisite work of Co-Fight Director and Blood Director, yes Blood Director, Casey Kaleba who at times has the stage resembling a Quentin Tarantino film. The carnage is certainly excessive and Kaleba turns the walls of A.J. Guban's set from orange to a dry red, only to emphasize how desensitized these characters have become to the violence that surrounds them.

The pleasure in this production is watching the nuanced farcical nature of McDonagh's character's come to life. Adam and Dinolfo are hysterical together landing some of McDonagh's best dialogue. Their scheme to replace Wee Thomas is tragically funny because it is so ill-conceived. You can't help but laugh at what their fear of Padriac will lead them to do next.

As Padriac, Keegan demonstrates the panache of a freedom fighter mixed with the mentality of a child. Nothing stops his vigilante justice for Ireland until he receives Donny's call about Wee Thomas. We suddenly see Keegan turn from madman to a meaningful soul. If you've ever lost a pet, you'll recognize the look in his eyes and be surprised that someone so evil is capable of such deep feelings.

Matthew Ward displays immense talent playing James, a character whose one scene is amongst the most memorable of the show. Hanging upside down with a dirty razor to his throat, James is a drug dealer who finds himself in Padriac's crosshairs for interrogation. Ward's physicality and brilliant ability to commit to the moment made the scene seem shockingly natural.

Dominy's passionate performance symbolizes the determined loyalist found in any cause. Her repeated singing of "The Patriot Game" comes as close to an anthem as The Lieutenant of Inishmore will ever have.

Joseph Carlson, Daniel Flint and Chris Stinson provide the play with a thought-provoking conversation on the limits and levels of political violence. At what point is it too much? Making the conversation more surreal is the vigilante stature of the characters played with convincing determination by the three actors. What does it say when even vigilantes question the extremism of a potential act?

In addition to being doused in blood, Guban's box-like set effortlessly shifts to create a makeshift warehouse interrogation chamber, the harsh cliffs of Galway Bay and finally opens to expose Donny's cottage. Guban's attention to detail easily establishes the mindset through which these characters live.

Kendra Rai's costumes convey the contrast between the militant drabness of the citizens of Inishmore against the militant actions of those fighting for Northern Ireland. The most visually striking is Rai's jet black and purple leather design for Padriac which confirms his foreboding presence.

If the production has a soft spot then it comes in the form of O.J. and Mousse, the two cats featured in this production. Audible gasps of affection could be heard with their every entrance and everyone can rest assured that no cats were harmed in this production. Playing the role of Wee Thomas' corpse and guts was a puppet.

There's no denying that some will be put off by this play. If you abhor political incorrectness, violence or a morbid sense of humor then The Lieutenant of Inishmore isn't for you. McDonagh is out to send a message with this play and Constellation Theatre Company gruesomely delivers it.

Runtime is 100 minutes with no intermission.

Warning: Play features graphic violence and adult language.

The Lieutenant of Inishmore runs thru March 8th at Constellation Theatre Company located at The Source, 1835 14th Street NW, Washington, DC. For tickets and more information on the show, please click here.

Photo: Thomas Keegan, O.J. the cat. Credit: Stan Barouh.

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