The Plough and the Stars Review: Haunting Centenary Staging at Abbey Theatre
Marking the centenary of the premiere of Seán O'Casey's potent political drama, The Plough and the Stars, the Abbey Theatre's latest production opens a door to looser, more experimental ways of staging this iconic work. Frequently produced in recent years, the tragi-comic masterpiece that famously caused a riot in 1926 is now deeply embedded in the Irish theatre canon, and director Tom Creed brings it vividly into the present with a haunting and innovative approach.
A Timeless Drama of Dublin Tenement Life
Set among Dublin tenement dwellers in the tumultuous run-up to the Easter Rising of 1916, O'Casey's characters are poignantly caught up in events far beyond their control. In this production, the newly married Nora Clitheroe, portrayed with raw emotion by Kate Gilmore, desperately tries to persuade her husband Jack, played by Eimhin Fitzgerald Doherty, to stay home rather than join an Irish Citizen Army rally. Despite her efforts, she cannot keep the outside world at bay, as her neighbours—the absurdly morbid Mrs Gogan, brought to life by Kate Stanley Brennan, and the hard-drinking Unionist Bessie Burgess, enacted by Mary Murray—constantly burst in, highlighting the complete lack of privacy in their cramped lives.
Director Tom Creed emphasizes a farcical tone in the opening act, set against a flimsy plywood wall in Jamie Vartan's startlingly plain set design. Comedy takes center stage in the lively pub scene, where the skittish Young Covey, played by Thommas Kane Byrne, bamboozles the sex worker Rosie Redmond, portrayed by Caitríona Ennis, with Marxist slogans, while brawling women are lifted off the premises by the barman, Michael Tient. This blend of humor and chaos sets the stage for the dramatic shifts to come.
Navigating Tonal Shifts with a Tremendous Cast
At ease with O'Casey's poetically embellished banter, the tremendous cast navigates the tonal switch from comedy into shock and tragedy with remarkable skill. As the city is bombed and confusion reigns, pettiness evaporates, and the characters face profound transformations. Bessie Burgess, who initially roars "Rule, Britannia!" from a window with her head bobbing like a crazed puppet, goes on to rescue the missing Nora, nursing her through a mental collapse in a powerful display of humanity.
Creed, a gifted opera director, adopts opera's relaxed approach to period specifics, using plywood walls to suggest cheap, badly built apartments that resonate with contemporary issues of housing and deprivation. The final act unfolds on a completely stripped stage, with a child's coffin and two candles downstage, and Nora standing against the bare back wall as if facing a firing squad. This departure from the familiar cramped attic creates a hauntingly stark and affecting image, de-romanticising poverty and bringing O'Casey's socialist, anti-heroic perspective sharply into focus.
A Fitting Reflection for Modern Audiences
By jettisoning faded Georgian surroundings, this production effectively de-romanticises the harsh realities of poverty and deprivation, making the drama feel urgently relevant today. It serves as a fitting tribute to O'Casey's legacy, offering a fresh and impactful interpretation that honors the play's centenary while challenging audiences to reflect on ongoing social issues. The Plough and the Stars continues at the Abbey Theatre in Dublin until 30 April, promising an unforgettable theatrical experience.
