Customer Reviews

The Seafarer

5 star:		(3)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

I saw this play last night at the Steppenwolf Theater in Chicago and it was excellent. It mixes "It's a Wonderful Life" and "A Christmas Carol" in a tale of family, friends, regrets, and the big guy above. There's a good balance of humor and deep emotion, with an unexpected hook that in another playwrite's hands would be laughable but here seems perfectly natural. The characters are individuals with their own problems and needs, even the evil ones. I recommend reading it around christmas time, when we all need a little boost. And if you can see it done live the experience will stay with you for a long time.

The living rooms in "The Homecoming" by Harold Pinter, "The Lieutenant of Inishmore" by Martin McDonagh, and in this play, "The Seafarer" by Conor McPherson are as scroungy, grotty, and disreputable as the males who inhabit these dumpy premises. The house is north of Dublin. Some plays can be read and enjoyed as a partial substitute for seeing a live performance, but after reading this one, I realize it is essential to see a live presentation to get the full import of this play. It is an actor's dream for the current five man ensemble on Broadway because the stage business is as powerful as the lines.
There is a Faustian pact element to the story. The central focus is on Sharky, a loser, who lives with his blind brother. Two visitors and a mysterious fifth man, Mr. Lockhart, gather together Christmas Eve day and night and get extremely drunk. They play cards, money is lost, and the story opens up to the audience. Some of this is familiar territory, and the plot is not too complicated. Lockhart probably has the best lines, but the other characters would be a joy to watch. There is great comedy here along with the more serious stuff. The characters are beautifully crafted, and they are a decidedly odd bunch. Each one a piece of work in his own peculiar way.
As in most plays, secrets from the past are unearthed and become grist for the dramatist's mill. When Lockhart and Sharky are alone, Lockhart reminds him of a card game they had in the past. For these two and the audience the game of cards becomes a transforming experience. The play is well worth a read but try to see it on stage if at all possible. It would make a great movie or television play, but, I think, the audience would be limited.

A dark, well-constructed play. High appeal for actors and true theater aficionados. Rapid-fire, interspersing dialogue: a challenge to actors. Definitely not a play for the average theater goer who is seeking to be entertained.

I recently borrowed a copy of this from my friend, after he and others recommended it. I'd never heard of any of McPherson's works and didn't know what to expect. After reading, I would recommend it to anyone interested in the theatre, and plan on picking up a copy of my own soon. It's not very long, and read very easily (I read it in one afternoon). It follows Christmas Eve in the house of James "Sharky" Harkin and his brother Richard, recently gone blind. It is a dry, dark tale, yet scattered with witty humor. Contains several parallels to Dr. Faustus. I've never seen it live, and while I hear it's much better on stage, this is a very good read.

Not his best, but that should not be taken as a bad review as it is far better than most of what is written today.

I bought this because the Irish brogues were sometimes a little hard to understand on-stage, plus I wanted to relive that delicious second-act card game again (the only way to do that with a play is to read the script). It's great seeing how the actors brought scenes and words to life. I've already loaned this book to others who saw the play before it closed on Broadway this month.

Sharky lives with his older brother Richard and a crony named Ivan in a coastal village north of Dublin. Richard and Ivan are permanently drunk; Sharky is uneasily sober. On Christmas Eve, they are visited by beer-swilling Nicky and his guest, Mr. Lockhart. Mr. Lockhart is the Devil. We know he is the Devil because he tells us so. ("I'm the Son of the Morning. I'm the Snake in the Garden."). Twenty-five years ago he helped Sharky escape a manslaughter charge. He has now come to collect his payment: Sharky's soul. Sharky can avoid damnation only by beating Mr. Lockhart in a poker game.

If you thought that Ingmar Bergman's conceit of a man playing chess with Death was self-conscious, portentous and middlebrow (and you were right), then you may not be much more receptive to a man playing poker with Satan. This marriage of Faust and Friel doesn't work, not least because the playwright is more interested in the crapulous antics of Richard, Nicky and Ivan than in the state of Sharky's soul. Sharky's character and history are so sketchy that one wonders why the Devil should covet such a nebulous figure, or why we in the audience should care about his fate. As for the supposedly hilarious drunkards, they become tiresome after three minutes.