Review of Loft Theatre Company production of Juno and the Paycock (2016)

Laughter and tragedy as close bedfellows can deliver the most potent of messages condemning war. Few writers used them to greater effect than Sean O’Casey.

The Irish shenanigans depicted here are sharply contrasted with brutal battles being waged outside the 1920s Dublin tenement occupied by the Boyles. They, as one of literature’s all-time great dysfunctional families, must convey a swirling array of emotions on a tightrope. This in turn presents a huge demand on a theatre company to get the balance right.

Gus MacDonald’s energetic production tackles it full-tilt but in the early stages lacks total command of the play’s tragi-comic intensity. The humour of Captain Jack’s bawdy aversion to work in the face of his wife’s single-handed efforts to keep the family afloat resounds as broad farce without real edge.

At this point only Jimmy Proctor’s superbly agonised performance as the son crippled in the violence of the Easter Rising matches the grim reality of Richard Moore’s evocative set design. Somewhat ironically, a cleverly staged musical scene change practically steals the show.

It’s in the second half, as the production truly finds its feet, that Tom O’Connor is able to draw out the real futility of Jack and his lifestyle, and the somewhat unsavoury nature of associates such as his drinking pal (Phil Reynolds) and opportunistic neighbour (Maddy Kerr) gains full impact.

Now we’re really into O’Casey mode, with Mary MacDonald developing the formidable strengths of wife Juno with style and passion. After earlier frustrated passivity, she finally takes the reins to deal with family disaster after hopes of better fortune are dashed and tragedy hits home.

The latter aspect has been ominously signposted in a touching eulogy for a murdered son powerfully delivered by Angie Collins.

O’Casey’s work may allow us early laughter but bitter reality is just around the corner. Such thematic ambivalence is the ultimate challenge which this production is certainly well on its way to meet.

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Peter McGarry is an experienced, independent professional theatre critic who has agreed to review Loft Theatre Company productions.

The agreement with the Loft is that Peter is free to express his opinions for good or ill. The Loft Theatre Company has no control whatsoever over the content of these reviews and will never comment publicly on what he writes.