Review: JUNO AND THE PAYCOCK, Gielgud Theatre
Photo credit: Manuel Harlan
20th Century Irish playwright Seán O'Casey's Juno and the Paycock makes a timely and gritty arrival to the glittering West End at the Gielgud Theatre in a highly anticipated new production directed by Tony and Olivier award-winner Matthew Warchus.
This poignant tragicomedy, the second instalment of O'Casey's renowned Dublin trilogy written between 1923 and 1926, offers a stark yet humorous portrayal of a struggling family's brief encounter with hope and wealth amidst the tumultuous backdrop of the Irish Civil War, only for it to come tumbling down around them in a stark reminder of the reality they exist in. This human comedy has played out around the world since recorded history, which in itself is a sobering moment of reality.
Set in Dublin in 1922, the play follows the Boyle family, led by the indomitable matriarch Juno (J. Smith-Cameron - Succession’s Gerri Kellman) and her husband, the drunk, stubborn and lazy 'Captain' Jack Boyle (Mark Rylance). As the nation tears itself apart, the family's fortunes seem to change with news of an unexpected inheritance. However, in true O'Casey fashion, this glimmer of hope serves only to amplify the eventual tragedy.
Seán O'Casey, born in Dublin in 1880, drew deeply from his working-class roots to craft plays that vividly depicted the struggles of Dublin's impoverished dwellers. Juno and the Paycock, first performed at the Abbey Theatre in 1924, stands out for its blend of comedy and tragedy, its critique of Irish society, and its female characters who take space and hold a gravitas above the weaker ambitions of men in the play.
The production opens with a stylistically crafted first act, reminiscent of a silent film in its physical comedy if you could hear the speaking. It paints a humorous yet poignant picture of a family struggling in impoverished Ireland. As the play continues, the lightness becomes entangled with darker passions that quickly evolve the work from a comedy into something far more complex. Act II marks the turning point, with warmer moments of joy making the family's swift fall from grace even more strong, leaving the audience little time to process the change in fortunes – much like the characters themselves. The set design by Rob Howell is particularly noteworthy, transforming with each act to reflect the family's changing social standing on both a literal and symbolic level, aiding the visual storytelling.
Performances are strong all round, however, Mark Rylance, undoubtedly a name to bring in the audiences, as 'Captain' Jack Boyle can't help but dominate each scene with his larger-than-life presence, which audiences who know him are accustomed to. His mastery of physical comedy perfectly suits the gag-like humour of the first act, while his pivot from lovable fool to a more troubled character in later acts hits without ceremony but is a compelling character arc. Rylance's commanding presence occasionally overshadows his co-performers who, through no fault of their own, struggle to match his energy; all but Anna Healy who matches and even outshines Rylance at times, filling the stage with personality and empathy as the warm and jovial family friend Mrs Maisie Madigan.
J. Smith-Cameron brings a sharp wit and resilience to Juno, the family's long-suffering matriarch. Her performance captures the essence of a woman struggling to keep her family together against overwhelming odds. Mary, the strong-willed daughter of Juno and Jack Boyle played by Aisling Kearns, is portrayed with earnestness; her journey, shrouded in the difficulties of being a woman made worse by the harsh realities of the time, is handled robustly. Johnny Boyle, as the severely disfigured son after the Easter Rising of 1916, does well to embody the complicated young man. Paul Hilton as Joxer Daly, Jack's drinking companion, infuses the dramatic tension with the right amount of laughter.
Just as the farcical elements of the play transform throughout, so does the sonic landscape. Act I is relatively quiet despite the on-stage antics; however, increasing tension through a non-intrusive sound design gradually builds in a sophisticated way. Particularly interesting is how the sound creates a soundscape of the distant sounds from the streets outside the setting of the apartment to effectively set the scene of a town in turmoil.
Some pivotal moments, particularly in the final scenes of the play, seem to occur too suddenly, and the extreme circumstances being played out are not always given enough space to unfold with sufficiently high stakes. Therefore, this pacing issue occasionally undermines the gravity of the situations portrayed. Overall, however, the sentiment of this pivotal work is carried through well.
Warchus' direction succeeds in bringing out the play's inherent humour while never losing sight of its tragic underpinnings. O'Casey's critique of war, capitalism, and human folly remains as relevant today as it was nearly a century ago. With its stellar cast, innovative design, and a robust creative team, Juno and the Paycock offers audiences a compelling blend of laughter and heartbreak, providing a window into a pivotal moment in Irish history through the lens of one family's tragicomic story.
With only a limited 9-week run, it is well worth snapping up your ticket.
**** Four stars
Reviewed by: Stephanie Osztreicher
