Things are seldom what they seem/Skim milk masquerades as cream.
(H.M.S. Pinafore- Gilbert and Sullivan)
Maire (Marie Mullen ) is gleefully enjoying an after sex “fag” in bed. White-haired and long widowed after a 42 year marriage, she’s astonished. “Gymnastics is what it was!” Facial expression is priceless. It’s Maire’s birthday. As she speaks – to Jesus – her lover is downstairs making coffee. “This floozie isn’t me. I didn’t know sex was even possible at my age… One thing lead to another and then God help us, there was a lot of broken dishes.”
The two met in church. Maire is devout. She’s had, she says, three “men” before Martin told her she was his salvation: Jesus, an old aggressor, husband Cullum, and now this itinerant handyman. (Maire hastens to tell Jesus he’ll always come first.) We hear about early abandonment, meeting her husband, sojourn in America, children, and return home. She’s talking partly to herself, partly to her Lord-an excellent listener.
“How long does it take to make a cup of coffee? Unless he’s makin’ the full Irish (breakfast), I’d love that. I could eat a horse.” She giggles. Mullen is an interesting actress. Like Judi Dench, she’s not traditionally beautiful, but has parentheses of youthful femininity. Maire hears sounds downstairs and goes to check on her inamorata only to find, instead, her son Mel (Jamie O’Neill).
Mel has seen Martin’s car in the drive. “Does he stay here now?” Concerned about his mam alone with a stranger, he’s researched Martin discovering major red flags. They vehemently argue. Insults erupt. Over and above personal feelings, forgiving past sins is part of Jesus’ credo. But if what Mel says is true? What if she’s welcoming danger?
Jamie O’Neill and Marie Mullen
Playwright Deidre Kinahan unspools her story with skill. Red herrings appear, then peal away like onion skin revealing rot. My sole caveat is that confrontation goes on too long past its peak. An edit would serve.
Louise Lowe directs with a sure hand, very much aware of Maire’s age, background, and womanhood. Pacing makes us feel as if we’re in the room.
Marie Mullen brings nuance to every emotion. The artist imbues her character with pride and stubbornness. Joy and lust are delightful to observe. We see passionate defense corroded by doubt, then fear.
Jamie O’Neill, on the other hand, too often anticipates what he’s going to say and stops cold as if following the script, rather than finishing a sentence in his head. There are fine passages. Perhaps the actor will settle in with the play’s run.
Scenic design by Ciaran Bagnall is puzzling. The neat revolution of two rooms in the heroine’s house look like two different habitats entirely, one white and modern, the other a rundown cottage
Sound design by Aoife Kavanagh is evocative and unnerving.
Photos by Carol Rosegg
The Saviour by Deidre Kinahan
Directed by Louise Lowe
Featuring Marie Mullen and Jamie O’Neill
Through August 13, 2023
Irish Repertory Theatre
132 West 22nd Street
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