A whisky-full tale of male brotherhood, rights and wrongs, with the potential to open minds
Greenwich Theatre hosted Irish playwright Conor McPherson’s The Seafarer, a Christmas tale of family, whiskey and feuds. Directed by Ian Higham, the play continues its tour at Greenwich following a sold-out run at Putney Arts Theatre. The story follows the return of Sharky Harkin, played by Eugene Duffy, to his brother’s house in a coastal town near Dublin. Set on Christmas Eve, we are introduced to Sharky’s blind brother, Richard Harkin (Ian Cooke), with the contrast between the two established from the play’s beginning. Sharky returns home after working on the docks, determined to maintain his sobriety, while revealing that he is no longer welcome back at his job. Richard, on the other hand, is a merry and humorous drinker.
The play begins and remains within Simon Crump’s set design of Richard Harkin’s house. The room is decorated with rather stereotypical Irish memorabilia, presenting a scene that might align with the expectations of a non-Irish audience member. Tayto crisp packets are scattered across the floor, Guinness posters plaster the walls, and two Virgin Mary shrines are brought to attention within the opening moments. Nevertheless, Crump’s design creates a cosy, functional home, while hinting at the family warmth that has long been missing.
The play finds its meaning through McPherson’s characterisation and use of symbolic themes. As we are introduced to the characters through a morning-after-the-night-before arrangement, Richard, Ivan (James Ross Turner) and Nicky (Nick Thomas) become important in understanding Sharky’s darker side. The acting is commendable, particularly from Duffy and Cooke, who maintain the play’s energy despite its single-room setting. Higham’s direction makes the tension clear-cut and the chemistry between the characters convincing, while also delivering some impressive physical sequences.
While the play’s strength lies in its characterisations, the narrative occasionally becomes clouded, losing some of its potency. When Nicky’s friend Mr Lockhart (Matthew Flexman) enters the picture, we learn of his otherworldly connection to Sharky. Although Mr Lockhart’s character offers another insight into Sharky’s inner turmoil, the play’s links to religion and faith feel somewhat abrupt. A clearer build-up, perhaps through earlier revelations about Sharky’s past or a greater understanding of his relationship with faith, might have made Mr Lockhart’s arrival feel more fitting.
While family, drinking, playfulness and storytelling sit at the heart of The Seafarer, greater attention to Sharky’s inner life and experiences could have added further depth and helped the audience understand his struggles. Moreover, the play’s discussion of women feels underdeveloped. With an entirely male cast of five, conversations about women focus heavily on their limitations and the disappointments they have brought into these men’s lives. It would have been interesting to learn more about the mysterious letter Sharky receives from a new lover, giving greater autonomy to the women who have evidently shaped the lives of these men.