Buffalo Theater: McDonagh play shows signature dark humor at Irish Classical

By Nathan Andrew Miller
(Image above: Pamela Rose Mangus, Robert Creighton, Brendan Didio, Phineas Goodman, Jorge Luna Photography)

The distinct style and dark humor of Martin McDonagh has challenged theater and film audiences since the late 1990s. He is an Academy Award winner who also holds six BAFTAS, two Golden Globes, three Olivier Awards and five Tony Awards.

A Skull in Connemara, which opened Friday (Feb. 13) at Irish Classical Theatre Company, is the second installment in McDonagh’s Leenane Trilogy. The ICTC production completes their staging of all three plays in the trilogy, after The Lonesome West (‘09-’10) and The Beauty Queen of Leenane (‘14-’15).

I’m embarrassed to say that I knew very little of this play going on, but I’m honestly glad I didn’t. Director and Sound Designer Mason Beggs, also ICTC’s interim artistic producer, immediately creates the world of the play, with actor Camilla Maxwell milling around the raised set as designed by Collin Ranney. Beggs’ dual role on the production allows him to use sound and music to great success, sometimes creating a heartbeat, sometimes using a small onstage radio to convey a ghostly atmosphere.

McDonagh presents Mick Dowd, a complicated antihero with a tragic incident in his past. While McDonagh is known for twists and turns, and A Skull in Connemara is certainly not without them, it’s not surprising to me that this is a lesser-produced part of his catalog. However, Beggs has assembled a stellar cast who are ready to make the most of each moment.

Broadway veteran and recent Buffalo transplant Robert Creighton is immediately equal parts charming and mysterious as Mick, teasing his frequent drinking partner Maryjohnny Rafferty. When Mairtin, Maryjohnny’s somewhat simple grandson, appears with a message from the priest, we find out that Mick has an unsavory role, and one that will put him directly in the path of his past.

The audience watches as Creighton, as Mick, skirts the emotional line as he is challenged by Mairtin. He is able to maintain the humor and pace of the dialogue, pushing the plot forward in his scenes with Mairtin, played with hilarious simplicity by SUNY Fredonia senior Phineas Goodman.

Ranney’s impressive set gives the actors the ability to truly inhabit the world of the play. Brendan Didio, as Mairtin’s police officer brother Thomas, adds to the humor of the evening while casting “aspersions” about Mick’s questionable past. Pamela Rose Mangus rounds out the cast as Maryjohnny and adds an honest portrayal with acerbic wit.

Ultimately, the star of this production is its pace and technical elements. Anchored by exceptional performances from Creighton and Goodman, Beggs eases this production through twists and turns at a breakneck pace, using every inch of the beautiful Ranney set. Expert lighting by Derek Heckler supports the storytelling, and special credit is due to Diane Almeter Jones for the construction of the bones, integral to the story.

Irish Classical’s production of A Skull in Connemara kept the opening night crowd on the edge of our seats, and is well worth the ticket to see this fast-paced  and well-honed production.