Review: THE BEAUTY QUEEN OF LEENANE, Chichester Festival Theatre
The Beauty Queen of Leenane written by Martin McDonagh, at its surface, tells the story of a toxic and dysfunctional mother-daughter relationship between Maureen and Mag, constantly battling it out to hurt one another and twist the knife further. But when the fresh and generous Pato walks into Maureen’s life, things begin to change and their relationship leads to a series of events, resulting in an unfortunate situation.
The performances given by the actors are raw and emotional. Orla Fitzgerald plays Maureen with intense confidence and boldness, presenting a sarcastic character whilst also portraying the moments of insecurity and vulnerably. Ingrid Craigie embodies Mag in an authentic way with regard to the initial belief that she is a senile and forgetful old woman. Pato (Adam Best) is a breath of fresh air and is played with sincere kindness, contrasting to the dysfunctional family that the audience becomes accustomed to in the beginning. His brother Ray (played by charming Kwaku Fortune) is the youngest of all the characters, made apparent by the choice of costume and boyish behaviour. The audience adores his character for this reason.
The script is both comical and tragic, happy,and sad. There are references and conflicting ideas about racism, sexism, national identity and xenophobia – something that is typical for the early 1990s setting in which it is placed. A key example is when we learn that while working in England, Maureen was mocked by her friends because of her accent. Audiences soon learn that because of this upsetting event, Maureen spirals into a breakdown and spends time in a mental institution.
However, despite all these interesting themes that are threaded throughout the piece, it still feels as though something is missing or lost in translation. It is difficult to identify the meaning behind the play because of all these conflicting ideas, leaving us with more questions coming out than going in. The end of Act One (indeed, the entirety of Act One) is exciting and engaging. The characters are well established, and the plot line is bold and unique. But Act Two feels as though it loses traction and is disconnected from Act One in some ways, like it ends with no sort of resolution or definitive outcome.
The ambiguity that comes with this is distressing and is, at times, uncomfortable, particularly when you consider the reason for the familial violence that occurs throughout. While we are made aware that Maureen spent time in a mental institution, the reasoning behind her actions (particularly the burning of her mother’s hand) are not made explicitly clear. This results in a toxic depiction of mental health. There almost needed to be a reason, or an understanding between Maureen and the audience to justify this.
That being said, maybe there is a sense that ambiguity is the point. It leaves the ending open to interpretation, particularly with regard to the downfall of both women. Were they a need for one another? Can one truly be free and live without the other? Do they both fear institutionalisation so cling to one another?
It is an interesting concept and still worth the watch, 100%. The acting is strong, the set design is rustic and intimate. The costumes are very reminiscent of the early 90s and the Northern Irish accent is authentic and believable. Despite the confusion, all the theatrical elements blend beautifully, making it an overall enjoyable experience.
The ending is perhaps the most ambiguous and confusing moment – but whether that frustrates, or intrigues, is up you.
Let us know if you have seen it and what you thought about it. As Stella Adler once said: “The theatre was created to tell people the truth about life and the social situation” and this performance is a perfect example of theatre that can promote interesting discussions about just that.
*** 3 stars
Reviewed by: Megan Webb
The Beauty Queen of Leenane plays at Chichester Festival Theatre until 2 October before transferring to the Lyric Hammersmith.