Entertainment

Drama review: A shade too much light thrown on ghostly goings on of The Weir

Kerri Quinn, Marty Maguire and Garrett Keogh in the Lyric Theatre and Decadent Theatre Company production of The Weir
Kerri Quinn, Marty Maguire and Garrett Keogh in the Lyric Theatre and Decadent Theatre Company production of The Weir Kerri Quinn, Marty Maguire and Garrett Keogh in the Lyric Theatre and Decadent Theatre Company production of The Weir

The Weir, by Conor McPherson

Lyric Theatre, Belfast

THE Weir, written by Conor McPherson, has a fine reputation. There’s little action: all depends on the words of five characters in The Weir, a west-of-Ireland pub.

As the lights in the auditorium dim our focus is taken to the bar, the stools, the small table, the fire; outside, the wind howling.

The door opens and local garage owner Jack (Marty Maguire) comes in for his usual pint. A bachelor apparently happy with his lot, he chats to Brendan (Patrick Ryan), orders his drink, discusses the weather – all very typical of early evening in a village pub.

When Jim (Frankie McCafferty) arrives they discuss business, order more drinks – and talk about the weather!

Soon the craic comes round to Finbar Mack (Garrett Keogh), a successful businessman who has struck up a friendship with a new resident, a young Dublin woman who has bought the old house on the 'fairy road'. As the evening lengthens Finbar arrives with Valerie (Kerri Quinn) on his arm. He’s protective of her and Jack especially finds it hard to put up with.

Soon the stories begin, tales of the fairies, the ouija board, a graveyard and a ghostly man with sinister intent. But they fall silent as Valerie tells them her tragic story with a supernatural twist.

Finally comes Jack’s story, the most powerful of all, a man laid bare in front of a woman who might be his future.

With such a static production little things are important. I would like the fire to glow red to give a cosy feeling to the bar – from my seat it looked dead. It would have been more chilling to hear that low moaning of the wind in the background from time to time. And Brendan, the bar owner, offers a torch to see in the dark as he turns out the lights yet a strong white light is coming through the outer door – maybe an outside light? Going into the black stormy night would have pleased me more.

Is this nit picking? Perhaps but atmosphere is all important, especially in a play that depends on ghosts lurking in dim corners.

:: Until September 30, with Saturday and Sunday matinees. For more detail and booking see lyrictheatre.co.uk