Irish Heritage Theatre and Plays & Players present Billy Roche's 'Lay Me Down Softly'

Minus the Irish locale and accents, Lay Me Down Softly reminds me of well-crafted classics like William Inge's Bus Stop and Picnic. Director Peggy Mecham's production on the Plays & Players Theatre mainstage suggests the atmosphere of a 1962 traveling carnival that features amateur boxing take-on-all-comers entertainment.

A Sideshow

Roche builds the play's claustrophobic relationships through lively discussion with authentic accents. Ethan Lipkin plays Theo, manager of Delaney's Traveling Show, whose bluster can't hide his inner wounds.

Theo spars with Lily (Kirsten Quinn), who alternately charms and berates him, trying to spark jealousy with taunts about other lovers. They somehow function as partners, though she chafes at the suggestion that their life's work is just a sideshow.

Dan McGlaughlin excels as featured boxer Dean, who shoves popcorn into his mouth while expelling braggadocio. Lee Stover plays tragically brooding ex-boxer Junior, and Katie Stahl makes Theo's estranged daughter Emer a fascinatingly complex temptress.

The glue holding this ragtag band together is Brian Anthony Wilson's Peadar, Theo's second-in-command. Dismissed by Theo as a "proud and lonely creature," Peadar cleans up Theo's messes and maintains morale.

Wilson's strong presence commands attention, though Peadar is less demonstrative and verbose than the rest. However, he becomes the play's center in a heartbreaking reveal that Wilson plays just right.

Unfortunately, Quinn's multifaceted performance is hindered by a garish white wig. Mecham’s staging also feels hemmed in by Jaired Kimberly's bland set, lit plainly by Allen Clark.

Boxing clever

Lay Me Down Slowly bogs down in its portrayal of the sweet science. The set's tiny boxing ring feels cartoonish yet hinders natural movement in and around it. The production doesn't need to show the story's two pivotal boxing matches — especially with other cast members unconvincingly taking turns playing the antagonist, in a black hood suggesting a Halloween witch.

What matters is the aftermath and its emotional effects. Making matters worse, every scene ends in a slow fade and leisurely scene change, diluting the effect of the play's final moment. Even Jack Zaferes and Derek Gertz's original music could be better used to drive the action.

Fortunately, Roche's strong script — typically Irish, with its dollops of effusive charm and storytelling covering emotional injuries amid economic desperation— overcomes the production's shortcomings. Lay Me Down Softly proves a strong choice for this growing company.

To read Cara Blouin's review, click here.