Of Mice and Men

New Theatre, Dublin

"The best-laid schemes o' mice an men gang aft agley (often go awry)" - Robert Burns, 1785

John Steinbeck adapted 'Of Mice and Men' for the stage in 1937 from his novella of the same name. A Depression-era story of migrant workers in the Salinas Valley, California, it is a story of defeated hope and the harsh reality of the American Dream - a dream that, in any age, can never be shared by the proletariat.

'Of Mice and Men' manages to frame a particular time and place in US history, and it is with great anticipation that one approaches an Irish production of what is now rightly regarded as an American classic. The first question which arises when discussing a new adaptation is whether or not it retains its impact for audiences more than sixty years on. Well, time ripens all things, and Tim McDonnell, Director of the New Theatre's production, believes Steinbeck's classic has more relevance for Irish audiences today than at any other period of our history.

"What we have in 'Of Mice and Men' is two people who are basically transients, homeless, looking for work, despised for the transient farm workers that they were and considered a threat to the indigenous society," says McDonnell. "On that level, it suddenly occurred to me that we are living with it here in Ireland right now. We have refugees and people in this country who are more than employable, and who should be used, not only in terms of their particular capabilities, but because simply people should be allowed work."

Watching the performance of 'Of Mice and Men' one is immediately intrigued by the different approach each actor brings to his character. This is, in fact, a directorial approach favoured by Tim McDonnell. "I would be the kind of director who, rather than be impositional in terms of context, I would rather the seed of what is going to be finally developed springs from the actors' response to the text. Obviously it's a collaboration with me, but the initial seed of the response is from the actor's own particular imaginative engagement with the text."

So, what of the production itself? In terms of entertainment and emotional connection, this adaptation is extremely satisfying. Allowing the rich layers of Steinbeck's text to gradually draw the audience in, the play, rather than the production, is the real star. For this reason, more than any other, the New Theatre group can be proud. The ten-strong cast members all perform admirably, with perhaps the only gripe being the occasion inconsistency in the cadence of the patois.

In what is ostensibly the most demanding role of the play, Patrick Byrnes gives a near flawless performance as Lennie, expertly capturing the nuance of expression particular to a person with a learning difficulty. Lennie is a man whose innocence gives him a glimpse into a world that the rest of the characters don't quite perceive, but this is an unacceptable commodity in the harsh environment in which he lives. The pathos that Byrnes evokes with his gormless gaping and childish chortle is quite stunning in its symmetry, while all the while the threat of violence bubbles unintentionally under the surface.

Technically, the production is also very solid, with extensive use of the entire stage area being particularly worthy of praise. Too often we see productions concentrating the action to a narrow area, evoking a sense of unwanted claustrophobia. Here, every inch is explored, giving us a vibrant and vivid sense of the scope of the action.

'Of Mice and Men' begins and ends with the characters of George and Lennie at a pool on the banks of the Salinas River Valley. In between, we are treated to a fascinating sketch of a displaced and despised people who survive on their wits, clinging to the final remnants of a hopeless hope.

The erudite Robert Burns was right when he said that the best laid plans of mice and men often go awry. Thankfully, this New Theatre production is one plan which succeeds unerringly.

Tom Grealis