The Lonesome West
by Martin McDonagh
Directed by Robert Ashton
West End Players Guild
April 28, 2022
Jason Meyers, Jeff Kargus
Photo by John Lamb
West End Players Guild
West End Players Guild’s latest production is from celebrated Irish-English playwright Martin McDonagh, whose specialty is dark comedy with a penchant for the gruesome. The Lonesome West, however, even though it’s still essentially a dark comedy, is something of a departure in that it explores its relationships with not just a sharp edge, but also with a bit of a softer side and not a few moments of true poignancy. As staged at WEPG, it’s also an expertly paced showcase for four excellent local performers.
Set in Leenane, Galway, Ireland, the play follows two brothers, Valene (Jeff Kargus), and Coleman (Jason Meyers), who are constantly squabbling over multiple issues, big and small. We first meet them after the funeral of their father, who was shot by Coleman apparently by accident. Valene is extremely possessive, putting his initial on everything that belongs to him, from his new stove to bottles of booze to snack foods, and is reluctant to share with his brother. He also irritates Coleman by obsessing over his collection of figurines of various Catholic saints. Coleman, for his part, irritates his brother by constantly flouting his rules, and both brothers are a source of frustration for the local village priest, Father Welsh (Ted Drury), whose name they can’t even always get right, and who is frequently questioning his faith because of his perceived inability to have any effect whatsoever on the moral development of the townspeople. There’s also Girleen (Hannah Geisz), a neighborhood schoolgirl who hawks her father’s homemade booze and seems to look up to Father Welsh, despite the priest’s continued self-doubt. It’s these two characters who most often produce the occasional poignant moments that appear from time to time in the play, while the brothers are a chaotic force that drives the dark comedy ever darker. Even when there’s a new tragedy that makes the brothers take stock in their own lives and their relationship, they still can’t seem to help their constant needling of one another.
Like McDonagh’s other plays that I have seen, the sense of setting is strong here, with a believably Irish tone and atmosphere that’s well maintained in this production by the excellent work of the actors and designers. The small, seemingly ancient farmhouse is well-realized in Brad Slavik’s remarkably detailed set, and the characters are appropriately outfitted by costumer Tracey Newcomb. There’s also strong work on props from Frank Goudsmit, as well as excellent atmospheric lighting by Tony Anselmo and skilled sound design by Jenn Ciavarella.
The actors are especially impressive here, with Meyers and Kargus play against one another particularly well as the belligerent brothers, Coleman and Valene. Their strong personalities are well-realized, as is their sharp sense of comic timing and physicality. There’s also superb work from Drury as the self-doubting Father Welsh, who provides much of the emotional heart of the play, and Geisz as the feisty Girleen is also strong, especially in her scenes with Drury. The pacing is strong, as well, and the whole cast brings a sense of energy to the production that adds much to its entertainment value, as well as it’s occasionally thought-provoking themes.
McDonagh’s plays are often crass, sometimes gory, and definitely not for all ages, but this one has a degree of emotional resonance that I haven’t seen in some of his other dark comedies. Dark, physical, and frequently irreverent comedy is still at the forefront here, but there’s a level of depth that makes this play especially intriguing. As performed by a first rate cast at WEPG, The Lonesome West is certainly worth checking out.
Ted Drury, Hannah Geisz
Photo by John Lamb
West End Players Guild
West End Players Guild is presenting The Lonesome West at Union Avenue Christian Church until May 8, 2022
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