Theatre / Reviews
Review: Juno and the Paycock, Old Vic
There was a time not so long ago where if a country wanted to break free from British rule it did it with bullets rather than ballot box.
If Alex Salmond had been around in early twentieth century Dublin rather than in Scotland today, he may well have been fighting for independence with much more than a call for a Yes vote in a referendum.
Juno and the Paycock is set in the Irish capital at a turbulent time in its history, and one in which playwright Sean O’Casey lived through as a boy.
It tells the story of a poor family who come into money thanks to a will of a long-lost relative, of a work-shy father, a multi-tasking mother, love-struck daughter and freedom fighter son.
If Des McAleer as Captain Jack Boyle is the comic turn, even adding slapstick when stabbing himself with a fork, then the excellent Niamh Cusack as his wife Juno is the dramatic beating heart of the piece.
They are well-supported by a strong ensemble cast (with some lines unfortunately lost to unintelligible Oirish accents), in particular siblings Mary (Maureen O’Connell) whose fall from grace is tragic, and Donal Gallery as Johnny, who never shifts his gloom.
Despite moments of humour, gloom is the theme for most of this play, especially during a particularly bleak second half when any glimour of hope is cruely extinguished by some absolute body blows for the family.
Directed by Gemma Bodinetz, Juno and the Paycock is a co-production between the Bristol Old Vic and Liverpool Everyman & Playhouse, whose architects are now working on the redevelopment of the Old Vic.
And in a change from many of the most recent productions here, when there is a need for a window a real window appears on stage rather than a broom and a piece of rope.
Thoughtful and provocative, this is most definitely not a feel-good show but one that is always gripping.
Juno and the Paycock is at the Bristol Old Vic until September 27. Visit www.bristololdvic.org.uk/juno.html.
Photographs by Stephen Vaughan
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