Tag Archives: Outside Mullingar

Theatre Review: OUTSIDE MULLINGAR

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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.

 

OUTSIDE MULLINGAR, Interview with Lead Actress Liza Seneca

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Outside Mullingar, written by John Patrick Shanley, opens on 02 Oct 2026 at Sierra Madre Playhouse. The witty comedy features Liza Seneca as Rosemary Muldoon, an Irish farmer with one last chance at love.

Liza is an accomplished actress with experience in theatre, film, and TV. She is also the Co-Artistic Director of The 6th Act Theatre Company, an endeavor which motto is Fresh Takes on Timeless Stories.  Below is our interview with Liza.

  Tell us about your first impression when you read Outside Mullingar. What attracted you most to this play?
I was first introduced to this play about a decade ago in New York in the brilliant acting coach Larry Moss’ master class. An actor I admire very much had asked me to work on the last scene of the play with him for Larry’s class. I instantly fell in love with the characters and the play and had wanted to do a full production of it since that time. I have long loved Shanley’s writing and this is my very favorite of his plays, because it’s Shanley at his most lyrical, his most romantic. The themes of love, longing, parent/child relationships are timeless and universal.

What special characteristic does John Patrick Shanley capture about Ireland in this play?
He absolutely nails Irish humor which can be very dark, but deeply hilarious.

On the surface, Outside Mullingar looks like a light romantic comedy. But the dialogue exposes deeper themes such as traditions, love of the land, depression, suicide attempts, etc. How did you prepare yourself to portray all of those elements?
Great writing contains comedy that comes from dramatic moments and vice versa. The better the script, the better chance an actor has at portraying a multidimensional, complex person (which all of us humans are). Shanley’s script is a true gift to an actor in that he has given each character such a rich journey to go on. Rosemary is a character I immediately felt in my whole being, it’s one of those things I have learned not to question, to just be thankful for, and to remind myself to stay open to discoveries along the way.

How does an Irish story like Outside Mullingar relate to the American experience?
Though the play is set in Ireland, the themes are truly universal. Anyone who has ever been a child or a parent (which is all of us), anyone who has ever felt longing, been in love will find something that resonates.

What’s the most challenging aspect of the production of this play?
The truth is that the most challenging aspect of this or any production right now is simply getting people to come to the theater. Theaters all over the country are feeling it. There are so many factors: economics, an increasingly screen-driven culture, still processing Covid, you name it. It is a core belief of mine that theater needs more support and that it is a vital art form that can change lives.

Tell us about your acting education. You trained in The Groundlings, Antaeus Theatre Co., etc. How is it to navigate between drama and comedy?
You evolve as an actor because you evolve as a person and I am constantly learning. Though I do have training and though I do have certain ways I approach working, I am always learning from the people I work with and by exploring roles I haven’t worked on before. I love doing both comedy and drama and I think the best writing has both.

Is LA still a relevant place for actors?
I think LA is and will always be a relevant place for actors. Yes, the business is changing, the landscape shifting, but that has always been true. Whenever I personally get anxious about where the business is headed, I remind myself that radio plays and silent films were once the norm and now we couldn’t imagine our lives without television. Actors are inherently good at adapting and I genuinely believe we will always need performers. The mediums may continue to change, but I believe in the power of artists.

For actors, how competitive is the LA theatre scene compared to film and TV?
I think film and tv is more competitive, especially now because self-taping has really leveled the playing field, but there are also more roles available. As theater budgets continue to shrink, we are seeing more small cast plays than ever before so there is less work for theater actors than there used to be. That said, LA is one hundred percent a theater town filled with so many extraordinary actors who make excellent theater. It is definitely out there for anyone who is serious about it.

You have experience in Film, TV, and Theatre. Which one is your favorite and why?
I love them for different reasons. I enjoy the subtlety of film and television work and the fact that you have a product that you can continue to revisit and that will have a much broader reach. I love theater for the opposite reason – there is such magic in the fact that you have to be in the room to experience it and it’s ephemeral. I also love being able to tell the whole story in each performance and experience the total arc of the character each time. And I think more than anything we need communal experiences right now.

You co-founded The 6th Act with Matthew Leavitt. What are the mission and goals of this company?
Our mission statement is: To keep both the vitally important tradition of classical theatre alive, while also giving life to new plays, striving to make both accessible and exciting to modern audiences. We aim to create experiences that are equal parts enrichment and entertainment, to produce shows that will appeal equally to die-hard Shakespeareans as well as to those who seek a more modern style. We stage shows that offer fresh takes on timeless stories and new stories with timeless themes. We work passionately and tirelessly to build a creative community that fosters artistic risk, intelligence and inclusivity.

 

OUTSIDE MULLINGAR

Friday, October 2, 8:00 pm (Opening Night)

Sunday, October 25, 4:00 pm (Closing Night)

For tickets and more information, visit: sierramadreplayhouse.org