Irish dramatic comedy worth seeing despite flaws
Irish playwright Lennox Robinson never got the acclaim his better-known peers at the Abbey Theatre received. The plays of W.B. Yeats, J.M. Synge, and Sean O’Casey are regarded as classics, and are sometimes still produced, as well as studied in the classroom. Not so with Robinson, so it is a rare opportunity indeed to see one of his plays performed, as his comedy “The Whiteheaded Boy” is at the Adobe Theater.
The title refers to a young man who is coddled and spoiled outrageously. In this case, the young man, Denis, has been absorbing the family’s finances so he can get an education at Trinity College and become a doctor. No one else in the family has such an opportunity, and in fact the young women can’t even put up a respectable dowry and get married.
While we are inclined to scoff at Denis for being a lazy good-fornothing, the truth is he never wanted to go to Trinity College: In fact, all he really wants is his independence. When he takes a job as a laborer toward the end of the play to free himself of his relatives’ constant meddling, they won’t hear of it.
Robinson’s satire is really directed at the family members and their illusions, not at young Denis.
In fact, Robinson said, the play was “political from beginning to end, though I don’t suppose six people have recognized the fact.” The play is an allegory, with Denis representing Ireland seeking its independence while the family represents England, constantly meddling and assuming that all Ireland needs is England’s money and guidance.
The play was written and produced in 1916, the year of the Easter Rising.
Although no one today can be expected to discern the political allegory, it’s no matter, for the play works as a first-rate comedy of manners independent of the allegory.
Unfortunately, the play proved to be a little beyond the capacity of the earnest Adobe artists, who never quite managed to capture the rhythm of Robinson’s script. Some of this may have been due to opening-night jitters, for many of the actors were a bit stiff and frequently stepping on their fellow actors’ lines.
They made an admirable effort to speak the Irish brogue, but unfortunately the rhythmic Irish cadence with the long vowels and high inflections was absent.
That said, they seemed to loosen up some in the second act, which worked considerably better and included some very funny scenes. Kathleen Welker, Shangreaux LaGrave, Yannig Morin, and Ashley Reid gave strong performances.
The play falls under the category of comic realism, and this production includes a nicely detailed realistic set by Bob Byers.
Yet for some reason, Robinson included a narrator whose lines, at least in this production, were mostly intrusive. When a character would exit, for instance, the narrator (played by Ray Orley) would interject the obvious, “so-and-so is leaving now.” Occasionally, the interjection would be humorous, but usually it was just superfluous.
Those interested in Irish drama or classically constructed comedy might want to catch this production despite its flaws.
Playing through July 3. Go to adobetheater.org or call 898-9222 for reservations.