Consisting of a selection of five of the great poet/playwright William Butler Yeats’ one-act plays, Cycle B opens with The Land of Heart’s Desire, directed by the Rep’s artistic director, Charlotte Moore. Set in the county of Sligo “at a remote time,” a family consisting of a mother, Bridget (Fiana Toibin), father, Maurteen (William J. Ward), son Shawn (Justin Stoney), and daughter Mary Bruin (Amanda Quaid) go about their business happily enough.
They are visited by their priest, Father Hart (Peter Cormican). However, Mary Bruin, who is to be married shortly, appears to be distracted by a figure she frequently sees passing by their home. This turns out to be a Faery Child (Amanda Sprecher). Mary Bruin’s mother pleads with her to ignore the interloper, but so seductive is this strange creature that ultimately Mary Bruin cannot resist her call. One is reminded of Yeats’ poem “The Stolen Child.”
Performances by all are fine; particularly appealing is the dance by Amanda Sprecher, as her Faery Child endeavors to woo Mary Bruin to her kingdom.
The following four plays are directed by the Rep’s producing director, Ciarán O’Reilly.
In The Pot of Broth, a manipulative but charming Tramp, played enticingly by Patrick Fitzgerald, comes upon a cottage kitchen equipped with an enormous iron pot, belonging to Sibby Coneely (Terry Donnelly) and her husband John (Peter Cormican). The Tramp, dying for a meal, must call upon his wits to cadge one. His secret weapon: a stone, a stone by which, he declares, he can create a delicious pot of broth.
The waspish but gullible Sibby is entranced by the suggestion. She and John are soon expecting company and what better feast than a lovely broth? Their visitor, by delicately and surreptitiously stirring in a chicken and a hambone, does make good his promise.
As he departs, the Tramp leaves to his hosts the magical stone as his thanks, so that they can mix up the next batch of broth with it.
A delightful, farcical piece, The Pot of Broth is beautifully played by the trio of actors. Particularly amusing is the witty Terry Donnelly’s repeatedly chasing the chicken to and fro across the stage. I won’t give away how this is done.
In A Full Moon in March, director Ciarán O’Reilly has created an atmosphere of mystery and beauty, as The Queen (Amanda Quaid) discusses with The Swineherd (Kevin Collins) whether or not she will grant him her favors. Although he is confident, she insists that he will be beheaded for his forwardness. Later, after she retreats to an inner chamber, when it is opened The Swineherd’s head is indeed evident. The Queen then performs an exotic, sensual dance honoring the severed head.
The play, reminiscent of Oscar Wilde’s Salome, projects a fascinating darkness, especially by the dance, accompanied by strange music (composed by Bill Whelan) played somberly by the attendants (Wlliam J. Ward, Justin Stoney, and Amanda Sprecher) on primitive sounding instruments.
Set near Killala in 1798, Cathleen Ni Houlihan is Ireland herself, as she (powerfully played by Fiana Toibin) visits a family’s cottage where the young man (Kevin Collins) is preparing to get married. However, with Cathleen’s influence, he will instead go to defend his country.
The entire program is well directed and well played by the staunch and versatile company of actors, several of whom display additional skills as dancers and musicians. Sets by Charles Corcoran and costumes by David Toser are minimal, but effective. An evening or afternoon well spent.
The Yeats Project—Cycle B
Irish Repertory Theatre
132 West 22nd Street
Information and tickets: (212) 727-2737
Running time: 2 hours, 15 minutes
Closes: May 3
Diana Barth writes and publishes New Millennium, an arts newsletter. She also reviews for www.TotalTheater.com.
