(Ciara L. Murphy’s article appeared in The Irish Times, 9/17; Photo: The Irish Times: Druid combines representations of raw sorrow, naked nationalism, and raucous humour to honour Gregory’s legacy.)

Revival of Lady Augusta Gregory’s neglected works is of vital importance

★★★★☆

At Coole, the collision of past and present is delivered through a collection of Lady Augusta Gregory’s neglected works. Druid combines representations of raw sorrow, naked nationalism, and raucous humour to honour Gregory’s legacy at her home, the historical site of Coole Park.

Gregory’s plays have been notably absent from Irish stages for far too long. This revival is of vital importance, not only for a canon in urgent need of revision, but also because, despite the common view, Gregory’s plays provide worthy and clever snapshots of an important moment in Irish theatre history.

The nationalism that underpins two of her best-known texts, The Rising of the Moon and Cathleen Ní Houlihan, can appear a blunt instrument in contemporary times. However, these political allegories bookend DruidGregory, highlighting the political significance of Gregory’s work.

The setting of The Rising of The Moon is perhaps the most effective of the entire series, drawing fully on its surroundings. In Cathleen, Marie Mullen is striking as The Old Woman, leaning into moments of stillness and silence, presenting this well-known character as a literal monument of significance.

Standout

Francis O’Connor’s light touch approach to set design allows the natural beauty of Coole Park to take centre stage across the five short plays. Augmented by Barry O’Brien’s simple yet exquisite lighting design, the entire performance places the audience along a porous boundary line between the historical and the contemporary. These threshold spaces hold the power of this performance.

Unexpectedly, the standout performance moves away from nationalist rigour and atmospheric mystique. Gregory’s raucous comedy, Hyacinth Halvey, is the ideal centrepiece of the production. Gregory’s humour is often overlooked, and Hyacinth Halvey rivals Synge for its considered parody of rural twentieth century Ireland.

Presented as a delightful farce, it delivers comic relief and a breadth of capable performances from the ensemble. Here, the set allows for a more ostentatious addition to the traditional setting, which only accentuates its high-energy delivery.

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