Tag Archives: Ireland

Theatre Review: OUTSIDE MULLINGAR

Posted on by

Outside Mullingar delves into recognizable Irish themes while keeping a universal touch that travels across different demographics.

It could be Ériu, the Great Famine, intergenerational stewardship, or a combination of all of them, but Irish people are strongly connected to their land. For Tony Reilly (Armin Shimerman), the farm needs to stay with someone who can work and love the land in the traditional way, the Irish way. The problem is, his son Anthony Reilly (Michael Kirby) doesn’t seem to have what it takes to care for the farm once Anthony is gone.

Older and single, Anthony seems destined for a different trajectory, at least in the eyes of his father. It doesn’t help the fact that their land doesn’t have an exit to the road—Tony lost it to a debt with his neighbor, now in possession of the daughter Rosemary (Liza Seneca), who is also single. Anthony and Rosemary’s parents are old, so what will be of them and their respective farms once their parents are no longer around?

John Patrick Shanley uses the character Tony as an evocative stance in Irish memory. Tony’s concerns about the farm’s future are so intense that he is willing to sell it to his relatives in America instead of giving it to his own son. To understand this concept, we need to remember the turmoil that characterized Irish history in the late 19th century. The potato blight, hunger, the British land system, cruel evictions, and agrarian agitation resulted in the passing of the 1923 Land Act, which reinforced the claims of the Irish people to their land. For Tony, the farm is history; it represents the sacrality of the soil in the context of Irish identity.

But the play goes beyond the concept of land. It touches on family dynamics and the universal theme of love, which brings lightness and comedy to the play, allowing the characters to interact playfully with each other. Anthony’s ridiculous claim at the end of the play, although surprising and confusing, is used cleverly by Director Matthew Leavitt and the actors to create an amusing dose of comedy to close the play.

The four actors are delightful. Shimerman and Muldoon have been performing this play for quite some time, nailing their performance with ease. Seneca and Kirby offer a refreshing take on the couple who surrender gracefully to destiny. Leavitt’s direction is also a highlight in this production. The subtle positioning of the actors around the stage gives prominence to the text in critical moments where the dialogue requires special attention. The stage design (Mark Mendelson), lighting design (Justin Huen), and sound design by the quintessential Christopher Moscatiello create a naturalistic vibe that goes well with the script and the general concept of the play.

This is a play where family legacies and silent longings merge to create a world in which the characters will have to either resist or give in to the forces of nature.

Outside Mullingar

Sierra Madre Playhouse
87 West Sierra Madre Boulevard
Sierra Madre, CA 91024

October 2-25, 2026

Tickets: sierramadreplayhouse.org

Written by John Patrick Shanley. Directed by Matthew Leavitt. Presented by Sierra Madre Playhouse in conjunction with The 6th Act.

Cast: Armin Shimerman (Tony Reilly), Kitty Swink (Aoife Muldoon), Liza Seneca (Rosemary Muldoon), Michael Kirby (Anthony Reilly).

Creative team: Costume Design: Caitlin Cisek, Stage Manager: Brian Semel, Scenic Designer: Mark Mendelson, Lighting Design: Justin Huen, Sound Design: Christopher Moscatiello, Property Master/Set Dressing: Megan Trapani, Dialect Coach: Keri Safran.

 

Musical Review: ONCE

Posted on by

Broken hearts and the possibility of second chances linger in the air in Once, a musical poem to Dublin and its struggling buskers.

Dealing with heartbreaks due to losing his mom and breaking up with his girlfriend, Guy (Morgan Hollingsworth) holds on to his fading dreams by playing music in the streets of Dublin. Girl (Emma Laird) listens to his music and gets hooked. As both are in desperate need of human connection, music becomes the spark that links their hearts. But John Carney avoids predictability. Even though the characters develop feelings for each other, destiny has other plans.

Guy’s girlfriend moved to New York and has a new man in her life. Girl has a daughter living with her in Dublin, and a husband in the Czech Republic. But music is powerful, and the mutual appreciation of this art form starts to shape a strong bond between Guy and Girl. Despite the lack of physical contact between them, their music and lyrics awaken the mythical and compelling Irish Romance.

In this subtle imprint of passion in Carney’s writing, Director James Michael McHale, Hollingsworth, and Laird are able to display the fire of love in a subdued manner, never over sentimental, but always magnetic and magic, in a raw manifestation of basic human need. Hollingsworth and Laird effectively capture the characters’ loneliness and their search for a second chance in life.

Hollingsworth has the ability to create that mesmerizing aura reserved for actors who can also sing, displaying the rich spectrum of emotions and hardships of Dublin buskers. He has enough feeling to move the audience with his voice, like a modern day medieval troubadour. Laird also shows her musical talents as the Czech pianist-singer who starts to fall for her soulmate, one song at a time, in a silent heartache. She’s fascinating in “If You Want Me”, crafting a sensual and atmospheric melody that illustrates the deep sensibility of her character.

The secondary characters offer a significant contribution to the success of this production as well. Will Huse as Billy and Mike Bradecich as Bank Manager are highlights that bring the comedic relief to balance out the gritty aspects of the story. These characters make the production more dynamic by adding a great dose of quirkiness to the action and dialogue.

The somber background of the city is synthesized by the desaturated colors of the set and the low key lighting used throughout most of the play. McHale does a great job resembling the mood board of the movie, which had a documentary-style look that was part of the raw, realistic appeal of the story.

The movie captivated audiences worldwide a few years ago with the simple but honest depiction of love and music. Likewise, McHale infuses ONCE with charm and wit, honoring this authentic poem to Dublin and the extraordinary power of music. The selection of each member of the cast elevates the value of this musical; all of the performers can really sing and play instruments. The timing for comedy of the supporting cast and the dramatic skills of Hollingsworth and Laird add a new dimension to the script. With this production, The Chance Theater continues to show its place as a premiere stage for vibrant and appealing live performances, a true paradise for theatre lovers.

ONCE

Book by Enda Walsh
Music & Lyrics by Glen Hansard & Markéta Irglová
Based on the Movie Written & Directed by John Carney
Directed & Choreographed by James Michael McHale
Music Directed by Lex Leigh

Tickets: chancetheater.com

Cast: Morgan Hollingsworth plays Guy, Emma Laird plays Girl, Will Huse plays Billy, Leota Rhodes plays Reza and Ex-Gf, Jennifer Richardson plays Baruska, Mike Bradecich plays Bank Manager, Lex Leigh plays Da, Austin Ledger plays Svec, Jonah Meyer plays Andrej, and Joseph Dailey plays Eamon and Emcee.

Creative team: scenic designer Bradley Kaye, costume designer Sara Egger, lighting designer Jacqueline Malenke, sound designer and engineer James Markoski, projection designer Nick Santiago.

January 23 – March 1, 2026
Thursdays at 7:30PM, Fridays at 8PM, Saturdays at 3PM & 8PM, and Sundays at 3PM
Chance Theater @ Bette Aiken theater arts Center
5522 E. La Palma Ave.
Anaheim, CA 92807
 
 

Theatre Review: Corktown ’39

Posted on by

Intriguing and visceral, Corktown ’39 portrays the risks of comingling political activism and personal feelings.

The Anglo-Norman invasion of Ireland in 1169 started a centuries-long history of oppression and revolts between England and Ireland, a fight that led to the formation of a handful of resistance groups, including the Fenian Brotherhood, the Irish Republican Brotherhood, Clan na Gael, and the Irish Republican Army (IRA). These resistance groups have launched several operations to inflict damage to English assets in an attempt to pressure for the end of the British rule in Ireland.

John Fazakerley fictionalizes one of the most radical ideas of Clan na Gael, the American-based Irish organization supporting the independence of Ireland. The year is 1939 and the leader of the Clan, Joe McGarrity (Peter Van Norden) along with Chief of Staff of the IRA Sean Russell (JD Cullum) set up a risky plan to kill England’s King George VI during his visit to the US. The planning takes place in Corktown, an Irish enclave in West Philadelphia.

To carry out the plan, the Clan and the IRA hire the services of Martin Connor (Jeff Lorch), a sniper who fought in Spain during the brutal civil war. Having lost her fiancée in the bombing of Guernica, Martin is willing to continue taking risks in life. This time, he accepts the mission of assassinating the King of England. The plan is relatively simple. Take a position, shoot the king, run to the alley, and escape in a car driven by Tim Flynn (Thomas Vincent Kelly), a supporter of the cause, but indiscreet at times.

Everything seems in place, except that Martin falls in love with Tim’s former girlfriend Kaitlin “Kate” Keating (Ann Noble), who is the daughter of Mike Keating (Ron Bottitta), the Clan member hosting Martin. Kate is tough and dedicated to the Irish cause, but you can’t rule the heart, and sure enough, she falls for Martin. The problem is that Kate is also pursued by the abrasive Sean, who is striking a deal with Mike for the leadership of the Irish resistance. To add more tension, Joe and Sean start to clash heads about the tactics of the resistance, especially when it is discovered that Sean might be seeking the help of the German Nazis.

Fazakerley’s dialogue is witty and fast-pace. He also builds up the conflict in a way that changes the dynamics of the relationships unexpectedly, bringing in the element of surprise to the gripping story. To match the extraordinary dialogue, the work of Director Steven Robman with his actors and creative team is a fine job of craftsmanship. The talent of the thespians is evident; they work the humor and the moral conflicts to explore their characters in depth.

Cullum is fantastic, his physicality and quirky personality capture the fire of a man devoted to the cause, but also the dangerous ambition of a leader who starts to show an uncontrollable hunger for power and self-promotion. Noble continues to deliver memorable performances. She shows the strength of a cold and dedicated soldier, but also the agony of succumbing to the heart. Her ability to delve into the vulnerabilities of the human experience is exceptional. The last scene is one of a kind.

It’s always refreshing to see new faces. In this case, Rogue Machine presents Tommy McCabe as Francis, son of Mike Keating. McCabe is a USC graduate, evidencing the institution’s commitment to prepare excellent actors through their School of Dramatic Arts.

The lighting and special effects are paired up with a detailed scenic and costume design to bring back the atmosphere of the time, filling up every inch of the stage with objects and designs typical of the 1930s.

The significance and relatability of this story is worth mentioning. The characters in the play were not fully aware of what was coming. New leaders with ambiguous agendas were taking the world stage by storm, sending mixed messages. Some people read through the lines and foresaw the calamities to come, some didn’t. The characters of Corktown ’39 are a microcosmos of the explosive realities that were about to unleash the most devastating war in human history, WWII. With his clever pen, Fazakerley questions whether the end justifies the means. A relevant concern in the Irish search for independence, and a valid question about the multiple other cases currently in development around the world.

Corktown ’39

ROGUE MACHINE (in the Matrix Theatre)
7657 Melrose Ave, Los Angeles, CA 90046
(street parking)

Opening: 8pm on Saturday, April 12, 2025
Schedule: 8pm Fridays, Saturdays, Mondays; 2pm Sundays
(no performance on Monday April 14, 21, and May 12)
Closing: May 25, 2025

Tickets: roguemachinetheatre.org

Written by John Fazakerley
Directed by Steve Robman
Produced by John Perrin Flynn, Athena Saxon
A Rogue Machine Production

Cast: Ron Bottitta as Mike Keating. JD Cullum as Sean Russell. Thomas Vincent Kelly as Tim Flynn. Jeff Lorch as Martin Connor. Tommy McCabe as Francis. Ann Noble as Kaitlin “Kate” Keating. Peter Van Norden as Joe McGarrity.

Creative team: Mark Mendelson (Scenic Design), Dan Weingarten (Lighting Design), Chris Moscatiello (Sound Design), Kate Bergh (Costume Design), Ned Mochel (Violence Design), Megan Trapani (Prop Design), Grant Gerrard (Technical Director), Lauren Lovett (Dialect Coach), Victoria Hoffman (Casting).