★★★★

“a rich and entertaining family drama”

“How are you doing?”, a priest asks jittery Dermot (Chris O’Dowd) midway through this fine new play. “I’m fine”, replies deadpan Dermot, although “the circumstances around me are challenging”.

Dermot is not alone in his plight. In the ramshackle Irish farmhouse that is the setting for Conor McPherson’s eagerly anticipated Chekhov adjacent play, the circumstances would test the most placid of souls.

The future of the farmhouse brings the family together as uneasily as opposing magnets. Three siblings own the place. Two live there and the third – Dermot amid a midlife crisis – has returned from afar thinking there’s money to be made.

He has an ally in a blind renegade priest (Seán McGinley) – their uncle – but finds himself in opposition to his brother Stephen (Brian Gleeson) and sister Billie (Rosie Sheehy) who have made the place their home, combatting the damp, fighting off foxes and shuffling cows with a mindless resilience.

Like the mouldering walls, the family tensions have been left to fester so there’s more than a reckoning about property deeds in McPherson’s atmospheric and busy play.

Elsewhere Lydia (Hannah Morrish) wants a magic potion – “water with muck in” – to win back faithless Dermot’s love, but Dermot, railing impotently against the strictures of family, has found himself beguiled by 19-year-old minx Freya (Aisling Kearns) who turns up with an air of entitlement and her own little plots to pursue.

Billie, accident-prone and on the autistic spectrum, obsesses about trains, paint and chimpanzees. She also speaks in unvarnished and abrasive truths which is a useful means to bring simmering tensions to the boil. Stephen is angry – about having to look after Billie, but also having no life, no money, no love…

Writer-director McPherson says he conceived the 1980s-set drama in an airport after he was thwarted by Covid from seeing his own adaptation of Uncle Vanya. But knowledge of Chekhov is less use than an ear for Irish dialect and an ability to keep up with the scores yet to be settled.

The title, McPherson says, comes from a WB Yeats poem, The Song of Wandering Aengus, and “encapsulates that moment where dreams meet reality, and our most important illusions fade away”.

The ensemble cast fully embraces the opportunities presented by a phenomenal script, littered with miracles, mysticism and mischief. O’Dowd is a marvel, wiry and self-pitying. He brings his immense comedic presence to a play that is very, very funny. Rosie Sheehy is by turns blunt and lyrical, even her recitations of train routes hinting at romance and adventure. Morrish and Gleeson are the stoic heartbeat of the piece.

The first acts are all about slow-burn set-up against Rae Smith’s barren farmhouse backdrop. Which means the post-interval plot twists are something of a hurried cascade. Even in a play which relies on a hint of folkloric magic, the dramas happen unfeasibly fast, relying on an overworked denouement to create a sense of theme and purpose.

Pacing aside, this is a rich and entertaining family drama, delighting in the divisions that uniquely arise from semi-strangers who are bound together by the same blood and forebears.

THE DIVINE MRS S at the Hampstead Theatre

★★★★

“A delightful mix of the traditional and the contemporary.”

In her time, Sarah Siddons was known as the Queen of Drury Lane, renowned for her roles in Shakespeare tragedies – especially her Lady Macbeth. She hung out with the top dramatists of the time, including David Garrick and Samuel Johnson. She had the leading artists fawning over her, desperate for her to be the subject of their paintings. Yet this powerful woman also personified the powerlessness of women at the time. It is the tail end of the eighteenth century. Women were deprived of money, couldn’t own property, and had no real legal rights. No control over their children – nor even their own bodies.

April De Angelis’ play “The Divine Mrs S” takes us backstage, shedding light on the personal tragedy behind the grand ‘tragedies’ portrayed under the spotlights. Sarah Siddons’ acting career was under the direct control of her imposing brother (actor and manager John Kemble), and it was her husband who received her fees and signed her contracts. She was shunted off on a provincial tour when it looked like her acting would upstage her male counterparts. All the while her children appeared to be dropping like flies all around her. But De Angelis, whilst highlighting the dreadful state of affairs, steers well clear of worthy polemic or earnest tragedy, and instead dresses Siddons’ fight for self-expression and self-determination in a couple of hours of very fine comedy.

The language has a contemporary feel while harking back to Restoration Comedy, French Farce, and even touches of Commedia Dell’arte thrown in. De Angelis pokes fun at all the right characters, but doesn’t let righteousness intrude. In occasionally breaking the fourth wall, a charming self-deprecation is allowed to colour Siddons’ earnestness as she conspires with the audience, commenting on everyone’s foibles – including her own.

This mix of feistiness and fun is in no better hands than Rachael Stirling. The sharpness of Stirling’s delivery of Siddons’ words matches the biting wit De Angelis has given those words. Set mainly in the confines of the dressing room it encapsulates the whole world of the theatre. Dominic Rowan neatly conveys the lecherous misogyny of theatre manager Kemble, hamming it up to ridiculous heights when called upon to actually ‘act’ on the stage next to his far more talented sister. Anushka Chakravarti shines as Siddons’ all-knowing maid, dresser, personal assistant and ultimately counsellor. Meanwhile Eva Feiler, Sadie Shimmin and Gareth Snook multirole in excess to bring all the other characters onstage, in the right order and in the right costume. Most notable of these is Feiler’s Joanna Baillie; the writer who has to conceal the fact that she is a woman otherwise her plays will not get staged. When Kemble discovers her true gender he pulls her play, even though it is the most successful production he’s had for a while.

Even that contentious issue is dealt with in good humour. They say that if you want people to listen to you, the best way is to make them laugh. And there are even more laughs in the second act. And also more pertinence. The concept gets trickier, but the message gets clearer as Stirling more frequently steps out of character, allowing her to cast a contemporary perspective on the eighteenth-century restrictions imposed on the woman she is playing.

“The Divine Mrs S” can’t really be labelled a comedy or a tragedy. But it encapsulates both, and addresses serious issues – serving them up as light entertainment. Historically that would classify it as a ‘Problem Play’. But I have no problem with this one at all. A delightful mix of the traditional and the contemporary.

THE BRIGHTENING AIR

Old Vic

★★★★

“a rich and entertaining family drama”

THE BRIGHTENING AIR

Old Vic

Reviewed on 24th April 2025

by Giles Broadbent

Photography by Manuel Harlan

Previously reviewed at this venue:

THE BRIGHTENING AIR

THE BRIGHTENING AIR

THE BRIGHTENING AIR

THE DIVINE MRS S at the Hampstead Theatre

★★★★

“A delightful mix of the traditional and the contemporary.”

THE DIVINE MRS S at the Hampstead Theatre

Reviewed on 28th March 2024

by Jonathan Evans

Photography by Johan Persson

Previously reviewed at this venue:

THE DIVINE MRS S

THE DIVINE MRS S