In the world of Irish theatre, few figures are as polarizing as Dion Boucicault. Once hailed as a master of the melodramatic form, his reputation has since faded, overshadowed by the rise of realism and psychological drama. Yet, in the realm of Druid Theatre Company's latest endeavor, Boucicault is experiencing a renaissance. The Shaughraun, a play that once seemed like a historical curiosity, is now being reimagined as a cornerstone of modern Irish theatre, thanks to the visionary artistic direction of Garry Hynes. This article delves into the intriguing decision to stage The Shaughraun, exploring its significance, the challenges faced, and the innovative approach taken by Druid Theatre.
A Melodrama's Revival
Boucicault's plays, once the rage in New York, are now often dismissed as old-fashioned. His elaborate plots, heightened emotions, and larger-than-life Irish characters seem out of step with contemporary tastes. However, Hynes argues that The Shaughraun is not just a relic of the past but a vital link to the roots of modern Irish theatre. By staging it alongside Eugene O'Neill's Moon for the Misbegotten, Druid is inviting audiences to reconsider Boucicault's legacy and the extent to which his work continues to influence the plays that followed.
The Challenge of Melodrama
The central problem, as Hynes sees it, is that The Shaughraun cannot be treated as a modern psychological realism. Melodrama, with its codified rules and rhythms, demands a delicate balance between honoring its origins and connecting with contemporary audiences. Hynes, who first directed the play in 1982, returns to it with the wisdom of a 73-year-old, aiming to capture the essence of Boucicault's work while adapting it for the present.
A Dialogue Across Time
The decision to pair The Shaughraun with Moon for the Misbegotten is not arbitrary. Both plays, despite their stylistic differences, are part of the same conversation. Boucicault wrote The Shaughraun for an Irish audience in the United States, addressing the diaspora displaced by the Famine. O'Neill, the son of Irish immigrants, wrote Moon for the Misbegotten from within that diaspora. Hynes sees these plays as a dialogue across time, with elements of the melodramatic form lingering in O'Neill's work.
Visual Language and Set Design
The visual language of the production is a testament to the interplay between the two plays. Francis O'Connor, the set designer, has created a single set for both plays, dominated by a 19th-century Ordnance Survey map of Ireland. This map, celebrated as a triumph of cartography, was also an instrument of colonial administration. By mapping Ireland in unprecedented detail, the British state could more effectively tax, govern, and control it. The map, therefore, takes on a surreal, even sorrowful dimension, reflecting the struggles of Boucicault's characters.
The Actor's Challenge
The challenge for the actors is to navigate the over-the-top script while finding the emotional reality to ground it. Rather than treating Boucicault as camp, the cast has approached the material with complete seriousness. Rory Nolan, who plays the villain Corry Kinchela, believes that the key to making the villain unsettling is to search for the character's humanity. Aaron Monaghan, who plays Conn, the Shaughraun, agrees, emphasizing the importance of leaning into heightened emotion to evoke a genuine response from the audience.
Boucicault's Political Subtlety
Monaghan's reassessment of Boucicault's work stems from a closer look at the playwright's politics. Boucicault, he argues, was far from exacerbating the idea of the stereotypical Irishman. Instead, he was turning it on its head, with the heroes of his plays being ordinary people who repeatedly outwit the establishment. This political subtlety, Monaghan believes, is what makes Boucicault a genius.
The Impact on Modern Irish Theatre
The Shaughraun's revival has broader implications for modern Irish theatre. Rory Nolan sees Boucicault's influence running through almost every big Irish playwright who followed, from Beckett to Synge to O'Casey. Boucicault, Nolan argues, echoes down through the ages, shaping the work of his successors.
A Sustainable Approach
Druid Theatre's commitment to sustainability is evident in the design of the productions. Sets are designed to travel and be used again, reinforcing the company's distinct aesthetic. The moon that hangs over this season, for example, is the same moon that appeared in Waiting for Godot. This sustainable approach not only reduces the environmental impact but also creates a cohesive visual language across the company's productions.
Conclusion: A New Perspective on Boucicault
In the end, the staging of The Shaughraun is a testament to the power of theatre to revisit and reinterpret the past. By pairing Boucicault's play with O'Neill's, Druid is inviting audiences to reconsider the legacy of a playwright who once seemed like a relic of the past. Through innovative set design, thoughtful acting, and a commitment to sustainability, Druid is breathing new life into Boucicault's work, offering a fresh perspective on a playwright who, in Aaron Monaghan's words, is 'kind of a genius'.
