The Ferryman

 

I was warmly welcomed on arrival and spoke with Director Ben Maytham and Assistant Director Alison Baker at the end of the performance.

The action of the play mainly took place in the farmhouse of the Carney family in County Armagh, Northern Ireland, in August 1981, at the height of The Troubles. A very realistic set had once again been designed by David Thompson and built by the society depicting a typical 1980s rural kitchen.  There were many chairs on stage, a dresser and kitchen table, some paintings and three entrances/exits including one supposedly leading upstairs. Costumes were all in period and character and sourced by the society. Lighting was fairly subdued and sound levels good. All the cast projected their voices well and could be heard clearly.

The programme carried a trigger warning of strong language, adult themes and extreme violence and there was certainly a late burst of violence at the end but the threat was throughout.

This was powerful and challenging story telling at it’s best with the script dense and involved, embracing the tensions and emotions within an extraordinary large family. Most of the actors had believable Irish accents throughout. There were eleven Carneys, including children and a baby along with cousins and three aunts. The four children, played by Lizzie Parrick, Alice Powell, Mabel Jimenez Moss and Rhys Bryson all performed their parts very well as did the extremely well behaved baby, Lily Friend and Buddy The Dog! A real baby and dog!

The storyline was inspired by a true story about “The Disappeared”, sixteen men and women who had been killed by the IRA and their bodies had never been found. One of these was Caitlin’s husband, Seamus Carney, whose body had suddenly been found,. Played expertly by Charlotte Still, Caitlin was busy and energetic providing food for the men busy with harvesting and looking after the aunts. Perhaps she was also flirting with Quinn Carney, the head of the family who had taken her in after her husband disappeared? Paul George was a superb Quinn making his presence felt and in control of the family. He was a larger than life character whose strength was witnessed throughout. He was haunted by the disappearance of his brother. Well  played.

Emily May Woods was Quinn’s wife Mary, a delicate, distant woman treated as an invalid and Emily brought both emotion and sensitivity to the role.

The three aunts caused a good deal of hilarity. Jenni Horn was an absent minded Aunt Maggie Faraway, elderly and wheelchair bound and was oblivious to events and people around her. However she suddenly came alive with memories of events long ago which she contributed irrespective of other conversations going on. Lily Chase, as Aunt Maeve played this fervent IRA supporter and bustling character well whilst Helen Bridge was the elderly Aunt Pat who sat apart from the rest only occasionally joining in.

Jack Parr was the swaggering and officious IRA officer Muldoon aided by Elliott McMillan as Frank Magennis who made his presence felt.

Anthony Roberts had a great role as Father Horrigan, the local Catholic priest called in to keep the peace but failed to prevent the violence.

There were several other young male actors all playing family roles in a robust and noisy manner and adding great atmosphere.

The capacity audience was heavily involved and concentrated on the script.

I congratulate Director, Ben Maytham, assisted by Alison Baker for his creativity and interpretation of this thought provoking and challenging script.

This was amateur theatre at it’s best delivered by talented actors !

Well done to everyone involved in any way.

 

 

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