By Katie Tabeling
Elm Staff Writer
Throw whatever preconceptions about “The Cripple of Inishmaan” out the window. While it does feature a cripple, Jess Blanch’s senior thesis is no sob story. Instead of a play focused on some Tiny Tim shouting “God bless us everyone” in some oddly named place, Martin McDonagh’s play gives an insight into Irish lifestyles and as well as leaving the audience filled with giggles.
“The Cripple of Inishmaan” centers around a small community on an even smaller island near Ireland, but mainly on ‘cripple’ Billy Clavin (Nick Pace). Billy lives with his two aunties (played by Andrea Clarke and Karyn Krupsaw) and his life is marked by his lame leg and the constant insults he faces from his family and neighbors because of it. He longs for a life outside being known as the local cripple. So he seizes an opportunity to become a film star in what appears to be the last months of his life, without telling his family about his disease or his dream.
Against this major storyline, other characters bicker and banter with cheeky humor: Babbybobby (Will Malkus) struggles with the guilt of helping Billy escape, the nosy Johnny Pateen (James Macguire) tries to kill off his dear old Mammy (Tara Bancroft) one drink at a time as the Doctor (Christopher Stokes) foils his plans, and Helen (Maggie Kobik), the pretty, loose, violent love interest constantly abusing her brother, Bartley (Liam Dempsey).
“The Cripple of Inishmaan” brought a rare combination of black humor and emotional anguish to the stage. Not only were the Irish accents cause enough for some petty chuckles, the dialogue kept the audience in stiches. Although every character had a great deal of sarcasm laced in their lines, every actor had a unique way to portray their character. Pace showed a downtrodden, almost soft delivery whereas Kobik was sassy and almost downright cruel whenever she opened her mouth. The actors did a superb job understanding how their characters would speak (and consequently act) in a show that plays on words, despite somewhat horrible accents. Collectively, the cast was pure gold. Individually? There were some minuscule faults that could easily be overlooked in the long run.
The themes of “Inishmaan” definitely brought some things home for the audience. Who hasn’t been identified by some degrading name in their past, or longed to escape a lackluster lifestyle? Memorable scenes from “Inishmaan,” such as Billy pleading to not be referred to as ‘Cripple Billy’ or Helen’s dogged determination to use whatever it took to get off the island provide some identifiable instances for the viewers.
However, nothing could have been as more surprising as the theme of love. With all the snarky and snide comments (and the occasional screaming and physical abuse on Helen’s behalf), there couldn’t have been a least likely candidate for a warm and fuzzy concept. In the director’s notes, Blanch writes, “It is in this world that ‘you idiot’ means ‘I love you’”. Consider Aunties Kate and Eileen, openly chastise and insult Billy, throwing around the word ‘cripple’ freely. And yet, when Billy runs away, Kate breaks down and Eileen finally cries when he is considered dead. Despite all his attempts to kill Mammy, Johnny Pateen still takes care of her in her old age. And all those with siblings can understand cycle of teasing Helen and Bartley share.
So it’s not the most traditional portrayal of love, what the play shows. It’s not obvious declarations or hugs and kisses. It’s with sharp wit and sarcasm, throwing eggs and beatings with a pipe. It’s the kind you have to look really hard to see. It quietly sneaks up on you, so you don’t realize what the snarky comments really meant until it’s gone. In retrospect, “The Cripple of Inishmaan” isn’t a conventional message in love- but it’s as close to the real deal.
April 8, 2011
Volume LXXXI Issue 21