A Haunting Opening to the Season

On the chilly night of October 18, 2024, the Sitnik Theatre within the David and Carol Lackland Center was infused with the eerie ambiance of Conor McPherson’s acclaimed drama The Weir. As the first offering in Centenary Stage Company (CSC)’s 2024-25 lineup and part of their Professional Theatre Series, this production, directed by Centenary University Professor Carl Wallnau, transports the audience to a small rural pub in County Leitrim, Ireland.

As a Centenary student, I scored my ticket for just $5, while other attendees paid nearly $30 for their seats. This let me enjoy a masterful, Broadway-level show nearby and on a budget.

Immersive Set and Atmosphere

From the moment I entered the theater, I was enveloped by the warm, inviting set designed by Evan Frank, which perfectly encapsulated the essence of a modest Irish tavern. The intimate setting featured a wooden bar complete with a functioning tap, which added authenticity as the characters poured drink after drink. The attention to detail—including the props, the “beer” that resembled Guinness poured alongside the fake cigarettes and their accompanying smoke, as well as a carefully curated wardrobe—created a cozy backdrop that made me feel as though I were sharing the bar space with these characters from across a room.

A Standout Performance by John Little

The cast, consisting of just five characters—Jim, Brendan, Valerie, Finbar, and Jack—featured an ensemble of talented professional actors, none of whom were students. Each really delivered captivating performances, but John Little, portraying Jack, was the standout of the evening. Little’s ability to oscillate between humor and deep emotion captured my attention and ultimately left a lasting impression. His telling of Jack’s story, loaded with regret and heartbreak, hit home, bringing the act to an emotional climax.

Little is a theatrical tour de force with an extensive résumé in theatre and television. His Off-Broadway credits include King of the Jews, Shadowlands, and Hamlet, while national and international tours feature productions like Cabaret and Harold and Maude. With regional credits spanning Yale Repertory Theatre and Paper Mill Playhouse, he also has TV roles in Law and Order and Boardwalk Empire. As a Yale School of Drama graduate, Little’s command and versatility shone through, making him stand out.

Stories Within Stories: Character-Driven Drama

The Weir opens with Jack, the mechanic portrayed by Little, and Brendan, the bartender depicted by Mark Byrne, engaging in casual banter that establishes a laid-back tone. They are soon joined by Jim, represented by Derek Egidio. However, the atmosphere shifts when Finbar, personified by Pat Cogan, enters with Valerie, played by Campbell Symes, a newcomer to the area.

As the characters share simple tall tales with one another, the dialogue gradually allows them to become more comfortable–aided by the drinks. This comfort leads them to uncover their vulnerabilities and the fears that deeply haunt them. They transition from tales of folklore and fictitious ghosts to confronting their own inner ghosts. You hear themes of loss, loneliness, and the desire for connection.

The play’s heavily dialogue laden nature marked by lifelike language filled with Irish slang— created this authentic bar tone. As the characters opened up, the tender lighting would shift, skillfully controlled by Kay Pitts, a junior at Centenary.  

When Valerie shared the tragic, unexpected story of losing her daughter, the theater fell completely silent. The lights subtly focused on her– making her the sole focal point– allowing everyone to feel the weight of her grief and the shared human experience of loss. 

Recalling her position as the light board operator, Pitts shared, “It's not really that difficult to learn the lights... you just have to pay attention to what’s going on. I really enjoy running the lights because I feel like they add so much. Sound can only do so much, but the lights create an atmosphere and make what's happening pop more.”

Each character’s tale has a unique glimpse into their past, ultimately leaving viewers with a spider web of connections to make. Jack’s last story, a touching narration on lost love and regret, held the audience in rapt attention. Little’s delivery was nothing short of brilliant, as he transformed from a light-hearted storyteller into an honest, raw individual wrestling with his emotional turmoil.

Pacing and Intensity: A Continuous Flow

The Weir unfolds over an uninterrupted hour and 40 minutes, boosting its intensity. Most audience members seemed engaged, as the lack of breaks allowed the stories to build on one another without losing momentum. However, the nearly two-hour runtime felt lengthy without an intermission. Some people might want a break, but the seamless nature of the performance kept a strong feeling of urgency and closeness. Although an intermission could disrupt the rhythm, one could probably be added creatively if desired.

This kind of uninterrupted nature of The Weir added to its spectacle, with the actors maintaining their performances almost non-stop for the entire duration. There were no scene breaks or changes in set design, and character exits were minimal, leaving the quintet to fully inhabit their roles without pause. This relentless pacing, which does not allow for intermissions, is incredibly demanding, requiring the actors to stay in character under the intense theater lights. To me, this reflects their exceptional skill, professionalism, and dedication to the roles they were cast in. This applies to all five actors—well done!

A Dialogue-Heavy Production

Sound design by Tyler Backer further enriched the atmosphere, with the howling wind and subtle sound effects adding to the cocooned vibe. Music is nearly absent, with only a few notes at the beginning to set the stage and at the end to close the show. The carefully played sound effects complemented the environment, enhancing the feeling of seclusion and warmth at the bar as the audience eavesdropped on personal stories, drawing deeper into the characters’ world. 

As a viewer who typically gravitates toward musicals or visually striking theatrical productions, seeing The Weir was a refreshing and enlightening journey—albeit strange and unexpectedly profound. For me, it was an introduction to the nuances of naturalistic theatre and psychological drama. The hard focus on dialogue and character development, reminiscent of the classic 1957 film 12 Angry Men, drew me in and allowed me to make some connections, illustrating how certain settings can unveil profound emotional truths.

The Weir is undoubtedly a thinker’s play, not suited for younger audiences due to its mature themes and language. It’s essential to note that the show is visually sparse. The set design of the small pub is commendable, yet it represents the extent of the visual experience in this drama, aside from the occasional dimming and brightening of the lights.

From the outset, audiences must engage deeply, looking beyond the strong Irish dialects and slang to listen to the stories, much like hearing campfire tales. This requires imagination to extract the true meaning behind the characters’ words, which may disappoint some viewers who would prefer to see these stories acted out theatrically on stage with more actors and visual elements. But this is neither the style of the play nor its approach to storytelling.

Closing Reflections and Season Ahead

The Weir demands attentive listening and constant reflection, with no intermission to pause and reset. Yet, thanks to Wallnau’s direction and Danielle Constance’s harmonious stage management, the performance stays interesting.

It invites those who appreciate character-driven narratives and deep, sad stories of ‘what once was’ to ponder the philosophies of life and the comfort found in shared experiences. The heartfelt, atmospheric nature of this production will resonate with fans of Irish culture and taletelling. What’s cool is the enchanting blend of drama, mystery, and the supernatural without veering into horror.

I will say, though, that while the production dazzles with its set design and ambiance, younger audiences, particularly college students, may not fully grasp the rapid-fire Irish slang, jokes, and supernatural elements that demand unwavering focus; without it, they risk losing their place in a narrative that moves swiftly. Even I, drawn in by the theater’s set design, occasionally found myself momentarily adrift in the fast-moving layers of stories. 

CSC’s production of The Weir did manage to move me with the talents of its cast and its stirring message about the importance of human connection in the face of loneliness and loss. Little’s acting, coupled with the attention to set design and lighting, crafted a unique exhibit for me in the Sitnik Theatre, where I was attending a show for only the second time. My first visit was in Spring 2022 to see Meteor Shower by Steve Martin, also directed by Wallnau, which featured a tight-knit cast but embraced a markedly different style.

As the cast of five took their bows and the 95 attendees filed out, I was left contemplating the power of simple storytelling and the strong emotions words can make us feel.

The soulful chatter and the sharp themes explored in The Weir lingered in my mind, reminding me of the unique ability of live theatre to connect us through shared experiences and reverberate long after the final curtain call. The Weir was staged at the Sitnik Theatre from October 4 to 20, 2024.

This served as a bold and impressive opening to what promises to be a stellar season at CSC, featuring upcoming shows such as the musical Carrie and the family holiday spectacular A Christmas Carol—both of which are sure to charm.

My Rating: