As the curtain dropped and the applause subsided at the interval of The Playboy of the Western World, currently playing at London's National Theatre, I overheard an English accent in the row behind me giving their midpoint review. "It's a lot more… Irish than I expected," they politely noted.
You’d be forgiven for thinking that person had stumbled into the wrong theatre, but perhaps they had a point. J.M. Synge’s iconic work from 1907 has gone down in Irish cultural lore, and most Irish schoolgoers were taught how its debut performance in Dublin provoked riots and protests by disgruntled nationalists who were upset by its supposed immoral and anti-Irish sentiment.
An international audience in 2026, neither aware of its cultural significance nor Synge's heavy usage of Hiberno-English, may have been somewhat taken aback; one review of this production in an English publication rather dismissively described it as a 'pub drama’. And it’s also true also that many of those in attendance at the National Theatre may have been attracted to the dazzling cast, another crest of the 'green wave’ subsuming global culture, rather than the source material. Riverdance this ain’t.
It's entirely possible that some people may have considered this production 'more Irish’ than they expected, or perhaps the heavily-accented dialogue may have been difficult for non-Irish ears to attune to.
Synge’s work has been performed and adapted countless times since its controversial debut 119 years ago, but this is a particularly vivid adaptation under Caitriona McLaughlin’s direction. Bristling with kinetic energy, McLaughlin finds an appropriately precarious balance of darkness, humour and pathos: is it a comedy? A drama? A satire? At various points it swings to each of those compass points. Katie Davenport’s set and costume design is exquisite, from the evocative opening scene of a procession of veiled, rain-drenched women keening en route to a funeral, to the detail of the fabric, pattern and traditional elements of each character’s costume and the traditional straw masks worn at one point.
Watch, via RTÉ Entertainment - Irish stars out in force for Playboy opening night
Then, of course, there is the cast. He’s currently portraying sporting tough-guy Roy Keane on the big screen in Saipan, but here Eanna Hardwicke is excellent as titular playboy Christy Mahon. He is introduced to us in an almost feral state, arriving at Flaherty’s Tavern seeking refuge and admitting that he had slain his abusive father. Instead of being shunned, he becomes an object of admiration - and of desire by the local women - although his confidence soon turns to an unwise braggadocio that can only lead to his downfall, especially once his father - who is very much alive - turns up.
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Listen: Playboy Of The Western World reviewed for RTÉ Arena
Nicola Coughlan too, is terrific as Pegeen Mike, the young woman betrothed to the hapless Shawn (a brilliant Marty Rea) but who falls for the ‘heroic’ newcomer. Coughlan’s Pegeen is a gutsy, scrappy young woman who seems just as surprised as us to have fallen under Christy’s spell. Siobhan McSweeney’s turn as the scheming Widow Quin is a reminder of her acting range and she comes close to stealing every scene that she’s in. Lorcan Cranitch is similarly superb as publican Michael James - particularly in the third act, which ramps up the drama as Christy’s story of patricide is ultimately exposed.
It’s entirely possible that some people may have considered this production ‘more Irish’ than they expected, or perhaps the heavily-accented dialogue may have been difficult for non-Irish ears to attune to. Still, there is a lot to be said for remaining true to your vision, despite what the audience might think, as J.M. Synge himself was all too aware. No doubt he would have approved.
The Playboy of the Western World runs at the National Theatre, London until February 28th
