Review of ‘Juno and the Paycock’: “Brought back to the stage, but not that much to life”

Seán O’Casey’s stage classic returns to the West End in a new star-studded production led by J. Smith-Cameron and Mark Rylance. Guillermo Nazara shares his views on the show, to let us know if the much anticipated revival of the Irish masterpiece still flaunts the gift of the gab.

We all know the story. We all know the play. We may be even familiar with the adaptation that a young Alfred Hitchcock took to the silver screen. It’s the 1920s – a time of revolt and uncertainty in the course of Ireland’s history. And amidst the turmoil that subjugates the country into a climate of continuous volatility, a struggling family takes solace in the unexpected inheritance they’ve just been granted. Little do they know by that time that their problems are far from over – and in fact, they may end up only enlarged by the blessing they’ve been actually cursed with.

A classic among classics in national literature, Seán O’Casey’s tragicomedy returns to the West End stage in star-studded production led by J. Smith-Cameron and Mark Rylance, and under the guidance of celebrated director Matthew Warchus. Presented as grand-guionlesque farce that puts the emphasis on the story’s humourous side as an antithesis to its later dramatism, Warchus’s approach proves understanding of the material from a theoretical angle – able to combine both aspects of the text through stirring visuals and an acting style that navigates from a sober, realistic execution to a more far-fetched, slightly clownish take.

But despite the appeal that these ideas may have on the director’s notebook, it seems the riots go beyond the recount’s setting when all of these components are put onstage – constantly clashing in a way that, rather than enhancing the conflict of the piece, turn out to attenuate its strength, pathos and soul. As much as we can notice the performers putting all their effort into what, in all fairness, is a highly dedicated rendition, there’s a level of rapport not only among the cast, but with audience themselves, that never appears to materialize. Instead, albeit the high stamina the actors project into the roles, the account keeps feeling slightly sterile for some reason, and unable to build that connection that allows us to break any distances with the characters and, eventually, care about their journey.

Beautifully put together through Rob Howell’s enticing designs and Hugh Vanstone’s atmospheric and sometimes emotionally-driven lighting, the production excels through the quality of its staging. However, its initial eye-catching inputs are soon withered down, to some extent, through an interpretation that lacks the heart and honesty that’s crucial to make its narrative work.

In any case, some credit must be given to a few performances, starting with Smith-Cameron as the protagonist, Juno, endowing her personage with tremendous charm and presence as she steps into the shoes of the frustrated, hard-working mother. In addition, Anne Healey makes one of the most memorable appearances of the whole show through her magnetic, and usually hysterical, portrayal of Mrs. Maisie Madigan. Yet, the highest praise goes to Eimhin Fitzgerald Doherty as Johnny Boyle, giving a truly superb performance that not only exudes confidence and allure, but also a great deal of insightfulness and gravitas working in alliance with the character’s complex arc.

A grand, slightly over-the-top return of a theatrical titan, the last revival of Juno and the Paycock sets up the basis and structure for a triumphant comeback, but forgets (almost entirely) to bestow it with a spirit that can provide movement, rhythm and, eventually, life to its delivery. Feeling a bit stalled at some moments, and so far incapable of instigating more than a mild interest regarding the personage’s plights, the montage could still pull it through if it found the way to liberate itself from its own chains, and bring the naturalness and, most importantly, genuineness it so repeatedly appears to be missing. It’s a jocose look into a regrettable reality, but none of those reactions can be accomplished if they can’t be supported by an element of truth.

All pictures credit to Manuel Harlan.

Juno and the Paycock plays at London’s Gielgud Theatre until 23 November. Tickets are available on the following link.

By Guillermo Nazara