Irish Heritage Theatre's 'The Plough and the Stars,' by Sean O'Casey

The young Irish Heritage Theatre has chosen challenging classics for its first four productions, three by Sean O'Casey (1880-1964): The Shadow of a Gunman in Spring 2015, Juno and the Paycock in Fall '15, and, currently, The Plough and the Stars.

Moving to Plays and Players' mainstage gives director Peggy Mecham a large venue for her cast of 17, but also taxes the cast's abilities and the company's resources to fill that space. They don't succeed, but not for a lack of effort.

Irish Troubles

The Plough and the Stars, a scandalous work when it premiered in Ireland in 1926, concerns poor Dubliners in 1915-16 and culminates in the disastrous Easter Rebellion. Victoria Rose Bonito plays Nora, who fears for her husband Jack (Harry Watermeier) when he becomes a Republican leader. Neighbors include Mrs. Gogan (Michelle Pauls) and Bessie Burgess (Mary Pat Walsh), who squabble entertainingly; and old Peter (John Cannon) and his nemesis The Young Covey (Kevin Rodden), who likewise spar comically.

Amidst the daily tensions and tribulations, rebellion brews. O'Casey doesn't show us the leaders — Mark B. Knight plays the only one, "Man in the Window," spouting patriotic speeches we overhear — but ordinary folk, arguing, posturing, and worrying. It's not a pretty picture: Mrs. Grogan leaves her baby in the bar to pursue Bessie, the tenement's residents loot stores during the battle, and Jack tells a wounded soldier to wait while he consoles Nora.

Through thick accents and tentative delivery, and perfunctory direction, the cast strains to reveal the play's larger themes, but often ends up showing how small and ridiculous the characters can be without depth or context. Ultimately, no foundation is established for Act IV's expressions of compassion and the revelation of war's terrible toll.

They're not aided by Mecham’s set, which feels thrown together, a hodgepodge of old furniture and theatrical "cubes" (in rehearsal rooms, wooden boxes that abstractly represent a variety of pieces), somewhat defined by bright two-by-four red frames of walls and doorways. Pictures — presumably of Ireland circa 1916, but who can tell? — are projected on the theater's brick back wall. Though there are few pieces, scene changes are slow and disorganized, accompanied by generic Irish music. The physical production says nothing and accomplishes little, and partly forces characters to stand in flat lines across the stage.

Look to the Stars

Fielding a large, promising cast in a classic play is promising, but filling a large space with strong performances, good production values, and audience seem beyond IHT right now. But this is how theater companies grow: through hard work, perseverance, and ambition. I wasn't satisfied with The Plough and the Stars, but I am moved enough to look forward to their next production.