Prepare for a theatrical experience that starts with a whisper and explodes into a magnificent, monstrous roar! The Abbey Theatre's production of "Fair Deal" might begin with a seemingly ordinary family drama, but it quickly morphs into something far more audacious, leaving audiences both bewildered and utterly delighted.
At the heart of this darkly comedic tale is a house that isn't just a backdrop; it's practically a character in its own right. Set designer Liam Doona has crafted an interior that practically groans with the weight of past sorrows. Imagine a space cluttered with the detritus of lives lived – porcelain dogs, ornate plates, a barometer that seems to predict emotional storms, a questionable claret jug, and, most intriguingly, a painting of an older woman brandishing a golf club with an almost Chekhovian intensity. This house, with its scuffed corners and palpable history, sets the stage for the simmering tensions within the family.
The play, penned by Una McKevitt, initially aims to explore contemporary anxieties surrounding housing and our societal obligations, cleverly referencing a government initiative for long-term residential care. We're introduced to the Thornton family, a group grappling with their own crises. Kiera Thornton, a young woman feeling unfulfilled, finds herself inheriting this decaying ancestral home. Since her grandmother's passing, she's been dutifully caring for an unseen uncle afflicted with a genetic illness. Her brother, Daragh, a moderately successful actor, drops by with a curry, just as Kiera is contemplating selling the very house that holds their family's legacy. The early scenes unfold like a gentle family comedy, eliciting polite chuckles rather than hearty laughter.
But here's where it gets controversial... The atmosphere dramatically shifts with the arrival of Aislín McGuckin as Sandra, Kiera's formidable mother. Her entrance is nothing short of seismic; she brandishes the "For Sale" sign like a weapon, a stark contrast to the preceding tranquility. Sandra, a celebrity interior designer who has found fame and fortune in Los Angeles, embodies a potent mix of icy sophistication and unbridled, almost vulgar, opulence. Dressed in the stereotypical uniform of the ultra-rich – think gleaming gold accents and luxurious camel-colored fabrics – she unleashes a torrent of criticism upon her meek brother and her morally upright daughter. "I’ve always liked houses, you can impose yourself on them," she declares, a chilling testament to her controlling nature.
McGuckin's performance is a tour de force, a deliciously wicked portrayal that signals a radical departure from the play's initial realism. While her electrifying presence warns of a tonal shift, the sheer audacity of the melodramatic pivot that follows is breathtaking. The play asks a great deal of its audience, and at times, the characters' swift adaptation to this new, surreal reality feels a tad abrupt – as if encountering extraterrestrials and calmly offering them a cup of tea. However, this daring risk ultimately pays off.
Under the sharp direction of Conall Morrison, all four actors embrace the chaotic, darkly comic reversals that harken back to the spirit of Joe Orton's plays. Garrett Lombard shines with his portrayal of actorly vanity, Caroline Menton skillfully navigates the tightrope of maintaining rationality, and Jack Weise returns with a delightfully sinister glint in his eye. Aislín McGuckin, in particular, is a revelation, holding nothing back as she embodies a pantomime monster for the ages.
While the play's more profound thematic explorations might get a bit lost in the exhilarating mayhem, it's hard to fault the sheer enjoyment derived from this disreputable fun. It's an absolute hoot that leaves you questioning the very nature of family, inheritance, and the price of success.
What do you think? Does the pursuit of wealth and status inevitably corrupt familial bonds? Or is there a way to navigate these complex issues without losing one's humanity? Share your thoughts in the comments below – we'd love to hear your take!
"Fair Deal" is currently showing at the Peacock stage of the Abbey Theatre, Dublin, until Saturday, March 28th.
