A Storm Brews in Sligo: The Brightening Air Lands at the Old Vic

The Brightening Air | Old Vic Theatre | Ends 14th June.

Conor McPherson returning with his first new play in over a decade is a major event and has its world premiere at The Old Vic. He sets it very specifically in 1981, in a damp Irish homestead, and it is a heady mix of religion, paganism, family frictions and a touch of magic.

The Brightening Air story centres on one clan forced to divide their old home. Dermot (Chris O’Dowd) returns to County Sligo with ulterior motives. His brother (Brian Gleeson) and sister (Rosie Sheehy) bicker over shares and old hurts whilst keeping the family farm running. A former priest, Uncle Pierre (Seán McGinley), now blind, brings a key revelation. Sister-in-law Freya (Aisling Kearns) adds to the mix of intrigue. Hidden nearby is a well, its water said to make someone fall in love with the first person they see after drinking it.

I do like going into a play knowing nothing about it, but it did take me a while to sort out the family relationships – and having done some research afterwards, there is this video of the cast explaining who’s who, which I think would be helpful for anyone going to see it:

although it is a bit of an indictment of the play that this is needed!

The title comes from the W. B. Yeats poem “The Song of Wandering Aengus”. In it, a man pulls a silver trout from a stream, only for it to turn into a girl who whispers his name and vanishes. That gentle ache of hope and longing is infused throughout this play.

In a programme note, McPherson says that this play was inspired by his brilliant adaptation of Uncle Vanya, which he was never able to see because of Covid. So, what we have is a mash-up of Chekhov and Irish drama with themes of family relationships, religion and magic.

The first act is very much focused on establishing relationships and very little happens. Everyone is wanting something and in love with, or wants to be in love with, the wrong person. Act One ends with a key revelation, which then kicks off Act Two, which bursts into life. It feels a bit unbalanced, the languid pace of Act One in stark contrast to the events of the second. However, you can’t fault the bravery of that leap. I also couldn’t help but think that the play would work better in a smaller, intimate space, such as the Donmar. The vast, stylised set didn’t, I felt, support the tension and world of the play.

The cast is a top-tier ensemble. Chris O’Dowd (Bridesmaids) brings both charm and edge as Dermot. Brian Gleeson (Bad Sisters) grounds the stage as his tense brother. Rosie Sheehy (Machinal) is a true standout as the younger sister, who may or may not be on the spectrum, her dry wit cutting through the heavier moments. Seán McGinley (A Whistle in the Dark) gives the blind uncle a still power. Hannah Morrish (The Merchant of Venice, 1936) plays Lydia, Dermot’s wife, with stillness and longing. Aisling Kearns (Juno and the Paycock), Dermot’s unsuitable young girlfriend who may or may not be a witch, adds to the magical element. Derbhle Crotty (Portia Coughlan) and Eimhin Fitzgerald Doherty (Juno and the Paycock) round out this fine cast, mining every nuance and opportunity for humour in McPherson’s wonderfully rich dialogue.

I just wish he had balanced it a bit more. However, there is much to enjoy and admire. It shows McPherson at his best, mixing sharp, funny dialogue, folklore, religion and raw feelings. You’ll leave with questions hanging in the air. And that lingering doubt just might be its greatest gift.

For more theatre reviews, opening night previews, and what’s worth your time on London’s stages, visit EyeOnLondon. We spotlight the performances shaping the capital and welcome your thoughts—have your say in the comments.

[Image Credit | The Old Vic]

Follow us on:

Subscribe to our YouTube channel for the latest videos and updates!

We value your thoughts! Share your feedback and help us make EyeOnLondon even better!