The Seafarer is a triumph. Put together by the National Theatre, it is an example of excellence in holistic theatre. The set, lighting, sound, writing, performances, all combine with great attention to detail. I admit I was nervous at the play’s opening, as it treads the already worn ground of drunken Irish ‘realism’ ‘comedy’. But the production was so good in every detail that I quickly became involved in the moment, in these people, their lives, laughs and tragedies, above any genre.
 | | Jim Norton and Conleth Hill on stage |
It’s no surprise that actor Jim Norton won a 2007 Laurence Olivier Award (Best Performance In A Supporting Role) as the blind cantankerous and good-hearted Richard Harkin. Best-known perhaps for his appearances in Father Ted, it’s interesting to compare that Irish satire with this. Both should be flattered by the comparison, if for different reasons. But to single out only once performance feels unfair, as the casting was solid and the whole team worked very well together. The physical side of the performances, in particular, were striking. The stances, movements, falls, facial expressions – in all the characterisation - were superb. Karl Johnson’s beaten shoulders and restless feet, for example, and Conleth Hill’s agile clumsy drunkenness added great credibility and comedy. My only reservation in that area was of Ron Cook’s less credible aloof Mr Lockhart character. But the role demanded an (also too) traditional style. Talking of style, the play is surprisingly light (surprising if you read the synopsis and delve into the black show programme). Its single set, limited cast, 2-day duration could suggest the claustrophobic tension-fuelled model of American greats such as Tennessee Williams. But entertainment and a light touch win out without question; the set is richly detailed and beautiful, the script is funny, the personalities are attractive. Yes, it deals with alcoholism, poverty, failed relationships and inescapable mistakes, but the production never lets you forget these guys are fundamentally okay at the core. The Seafarer resolves as a traditional folk tale, with self-less acts, good hearts and the fight for self-esteem winning the day. But this is concluded quietly and uncertainly, keeping the play’s skilful light touch throughout. See The Seafarer at the Warwick Arts Centre until 3 March 2007. |
