The Brightening Air – Gate Theatre – Review

THE BRIGHTENING AIR by Conor McPherson
Dates: 17th July until the 30th August

In this production, we are introduced to a complex family living in rural Sligo during the mid-1980s. Dermot (Chris O’Dowd) is the eldest of three siblings. Having left the family home, he now has a wife, Lydia (Judith Roddy), and children. However, he is also openly carrying on an affair with the much younger Freya (Aisling Kearns), who is young enough to be his daughter. His brother Stephen (Brian Gleeson) and sister Billie (Kate Gilmore) remain in the ageing family farmhouse. Billie is viewed as being “different” and appears to display traits associated with mild neurodivergence. Brendan does his best to care for her while struggling with his own frustrations and disappointments.

The fragile equilibrium of the household is disrupted by the arrival of the siblings’ uncle, Pierre (Seán McGinley), who turns up at the farmhouse accompanied by his long-serving housekeeper, Elizabeth (Derbhle Crotty). A retired priest with decidedly unconventional views on Christianity, Pierre brings with him a mixture of charm, provocation and buried family tensions. With such an eclectic collection of personalities gathered under one roof, the stage is set for simmering resentments, old wounds and long-held secrets to erupt.

The play is written and directed by Conor McPherson, one of Ireland’s most celebrated playwrights. He is perhaps best known for The Weir, which enjoyed acclaimed runs in both the West End and on Broadway, winning the Laurence Olivier Award for Best New Play in 1999. The play is also due to receive a screen adaptation. McPherson’s impressive body of work also includes Girl from the North Country and This Lime Tree Bower, both of which demonstrate his gift for combining richly drawn characters with subtle touches of the uncanny.

All of the action unfolds in the living room of the family home, with characters constantly entering and leaving the space. Although there are central figures, this is very much an ensemble piece, with the narrative shifting naturally between the different members of the family. Rather than following a single protagonist, McPherson presents a series of interconnected encounters that gradually reveal the characters’ histories, regrets and desires. The stories range from the quietly domestic to the deeply strange, with the supernatural slipping effortlessly into everyday life in a manner that has become one of the playwright’s trademarks.

The production’s greatest strength lies in the quality of its ensemble. Chris O’Dowd brings humour and charisma to the deeply flawed Dermot, while Brian Gleeson gives Stephen a touching mix of stoicism and vulnerability. Kate Gilmore delivers one of the evening’s most affecting performances, imbuing Billie with innocence, humour and emotional depth without ever reducing her to a stereotype. Seán McGinley is impressive as the outspoken Pierre, balancing mischief, wisdom and provocation, while Derbhle Crotty lends Elizabeth a quiet dignity and strength. Judith Roddy gives depth to the lovelorn Lydia, who is desperate to try to win her husband back. Aisling Kearns’ character Freya develops over the course of the play to become more nuanced and complex. The play attempts to ensure that even the smaller roles feel fully realised.

Together, the cast create a family that feels authentic, with every interaction charged by their shared history. Their naturalistic performances allow McPherson’s dialogue to flourish, finding humour, tenderness and heartbreak in equal measure. It is this exceptional ensemble acting, more than anything else, that gives the production its emotional resonance and makes the characters linger in your memory long after the curtain falls.

CAST:
Brendan: Peter Corboy
Elizabeth: Derbhle Crotty
Billie: Kate Gilmore
Stephen: Brian Gleeson
Freya: Aisling Kearns
Pierre: Seán McGinley
Dermot: Chris O’Dowd
Lydia: Judith Roddy

CREATIVES:
Writer and Director: Conor McPherson
Set and Costume Designer: Rae Smith
Lighting Designer: Mark Henderson
Sound Designer: Gregory Clarke
Movement and Intimacy: Lucy Hind
Casting Director: Serena Hil