Caitriona McLaughlin’s production feels authentic and grounded, featuring some wonderfully detailed performances – but certain moments feel a little bit muddled.
There is plenty to be admired about this revival of John Millington Synge’s play – from the set design to the lighting design and of course the performances that means that the audience leaves thoroughly satisfied. But it does feel as though some aspects of the plot and moments between characters need further clarification.
The story is set in a village in the West of Ireland, whose residents become fascinated with newcomer Christy who walks into the local pub one day to confess to killing his father. Instead of running him out of town, the women of the town flock to see him and the men call him a hero – essentially making him a local celebrity but of course things can change in an instant.
Billed as a comedy, McLaughlin’s production leans more into the drama and acts as a cautionary tale as to take things and stories at face value – which given our age of social media and the increasing use of AI seems really quite pertinent for these times. It would have been perfect of the show had balanced the drama with the comedy a bit more to really enhance its themes – which would then have equally made the ending even more dark and powerful. This being said, one of the production’s main strengths is drawing on the female characters so strongly, showing that the characters of Pegeen and Widow Quin were quite ahead of their time.
Visually, this production is a real treat. Katie Davenport’s set and costume design is wonderful to witness in its authenticity. The way in which the stage is split between the pub and the rural landscape that surrounds the surrounding area is cleverly done and creates a very haunting atmosphere that draws the audience in effectively – particularly when live musicians come on stage dressed as strawboys. It shows depth and understanding into the traditions of Ireland – although I do have to admit that I found it difficult to keep up with the use of Hiberno-English dialect at least initially that made it feel slightly muddled in places (for me anyway) but once the play settles down into a rhythm it enhances the poetic quality of the play.
Meanwhile, the subtlety of James Farncombe’s lighting design adds wonderful softness to proceedings that enhances the emotions on display in each scene perfectly, while Anna Mullarkey’s musical compositions capture the spirit and tone of the story in a way that captivates.
There are plenty of standouts performance wise as well. In particular, I enjoyed the almost mischievous nature of Siobhán McSweeney’s take on Widow Quin, who wants Christy’s attention as much as Pegeen does. Yet beneath the strategic and upfront nature of her character’s approach, there is a strong hint of vulnerability and loneliness that means that she is able to relate to Christy in a different way to Pegeen. It is a lovely nuanced performance.
Elsewhere, her Derry Girl co-star Nicola Coughlan as Pegeen delivers a fierce performance – she offers so much detail to her performance it is hard to take your eyes off her. The same can be said Éanna Hardwicke as Christy, who showcases the character’s guilt and traumatised persona with great sensitivity to his sheer blossoming confidence with great ease and flair.
Will The Playboy of the Western World be for everyone? No but for anyone who enjoys an Ireland based drama will certainly enjoy this spirited revival – despite the occasional moment which feels slightly muddled plot wise.
By Emma Clarendon
Rating: ❤️❤️❤️❤️
The Playboy of the Western World continues to play at the National Theatre until the 28th February 2026.