Madness, creativity and hope in Druid production of Murphy plays Brigit and Bailegangaire

REVIEW – BRIGIT and BAILEGANGAIRE – Druid Theatre

Tom Murphy’s Bailegangaire, with its larger-than-life central character of Mommo, is one of the most powerful, challenging plays in Irish literature.

Mommo with her stories, her piseogs and her razor-sharp tongue, which is also capable of great tenderness, is as Irish as rain. Her two granddaughters, Mary and Dolly, were shaped in Ireland and could only be products of this country. Yet, their emotions – grief, disappointments, anger, love, hope – are universal. But while Bailegangaire has great humanity, it’s not an easy play either for actor or audience. Druid first staged it in 1985 when, under Garry Hynes’ direction, it was universally lauded. Now director and company have revived it, alongside a companion piece, Brigit, which getting its first stage outing.

Both stand alone, but are also being presented as a double bill, with Brigit offering an insight into the early life of Mommo, her husband Seamus and their grandchildren.

It’s an interesting mix. Bailegangaire, set in 1984 is a play where words flow in torrents, emotions overflow and tragedy lies close to the surface. Brigit, set in the 1950s, is an 80-minute piece; more restrained, and as much about the process of artistic creation as it is about domesticity.

Mommo’s husband Seamus (Bosco Hogan) is commissioned by the Reverend Mother of the local convent (Jane Brennan) to carve a wooden statue of St Brigit. His approach to the project, aided by Mommo (Marie Mullen), generates discussions about the transition from paganism to Christianity in Ireland. At times, it’s almost like a lesson in folklore. On other occasions, the play explores the grip of the Catholic Church on 1950s Ireland, with Seamus standing out from the crowd as he refuses to bow to its dominance. We get glimpses of the couple’s domestic routine as they care for their three orphaned grandchildren Mary, Dolly and Tom (Lily McBride, Ailbhe Birkett and Colm Conneely), but this play is more a vehicle to explore ideas and notions than a drama with real, vibrant characters. There are strong performances from all the cast, including Marty Rea as Fr Kilgarrif. It’s an interesting insight into the playwright’s creativity, but not his finest work.

For more, read this week’s Galway City Tribune.