Diego premiere of Martin McDonagh's "The Cripple of
Inishmaan," with barely a moment for their company to catch
its collective breath amidst a move into a new performance
space.
The five-year-old ion prides itself with the largest number
of resident artists next to the venerable Old Globe. Claudio
and Glenn previously rallied their artists when, confounded
by City Code violations, the company vacated their freshly
constructed New World Stage facility in downtown mid-run of
"The Grapes of Wrath." Ironies persisted. That exodus led
ion to the Academy of Performing Arts nestled next to Murphy
Canyon. (Where's Grantville? many asked.) The company
persevered in APA's 79-seat theatre and put Grantville on
the map.
Then the heat of the Christian Right fueled "Yes on
Proposition 8" (the anti-same-sex marriage initiative). The
proposition passed.
Ion discovered APA's property owner, Terrence Caster,
dedicated an over $680k plus donation to the "Yes on Prop 8"
efforts in his belief's that "God reveals the value of each
person through the work of his son, Jesus."
A married same-sex couple, Raygoza and Paris decamped APA in
a conflict of moral consciousness. Ion's exodus from the
"Valley of Caster" led to the oasis of the San Diego Rep's
Lyceum Space. In cognate, the couple's commitment to their
values proved a fortuitous (ad)venture. The company has an
ideal location, a larger more and comfortable house, and a
theatre equipped to industry standards.
In dark rooms, rather than in moneyed salvos from Church
against State, Dionysian devotees continue their rituals
around the flame of magic.
With a keen eye on McDonough's period European play, the
team sustained focus on crafting its version of "Inishmaan,"
as director Glenn Paris reveals in this Q & A via the Internet.
* * *
Espresso: What has the mood been like with the company since
moving?
Glenn Paris: The mood is strong, powerful and perseverant.
There has been a tremendous outpouring of support from both
the theatre community and LGBTQ community. People are proud
that we took a stand, and I think it ties current and new
friends closer to us as we share a love of theatre and a
perspective of advocacy for necessary changes in California
and the nation.
E: What was your immediate, initial response to "Inishmaan?"
Did you see or read it?
Photo: Rich Carrillo and Jason Connors (courtesy ion theatre)
GP: Claudio was aware of the play, having worked on the
production at the Geffen. As we determined this year's
season, he gave it to me and encouraged me to read it. I
immediately fell in love with it, and was impressed by how
strong and how funny a piece emerged from such a young
writer. I had seen "The Beauty Queen of Leenane" on Broadway
and later did a reading with the great Irish actress, Anna
Manahan who played the mother in "Leenane." Claudio and I
deepened our love affair with McDonagh the playwright when
we saw "The Lieutenant of Inishmore" on Broadway a few years
ago. I have a poster for the production hanging in my office
at the Playhouse!
E: "Inishmaan" takes place on a small-unfrequented Irish
island circa 1934. How have you explored the location and
time period with your actors?
GP: With the help of our dramaturge, AC Harvey (who was
Special Advisor to the Ibsen series) we have thoroughly
explored the period, typography and climate of the Aran
islands, and the rich given circumstances that establish the
play's situations. Led by AC and me, actors have discussed
and agreed upon a timeline and past and present off stage
events.
E: The character of Kate Osborn, Billy's (the crippled
orphan's) adoptive aunt, talks to stones. Do you treat this
character's behavior as mental illness or a spiritual
practice?
Photo: Dana Hooley and D'Ann Paton (courtesy ion theatre)GP: Kate is rather dotty, and talking to stones both ties
her to the earth and helps her with her inner confusion in
the wake of Billy's absence. She is a very nervous woman, as
much as she represses her strife. Talking to stones is a way
for her to try to ground herself in reality. She is the more
erudite and sensitive of the two sisters; Eileen is the more
practical of the too, though she satiates her own anxiety by
munching on sweets. Kate and Eileen are Billy's "pretend"
aunties. They are very tied to him, may even exist for him,
or at least he gives them a reason for living (each other is
not enough) and what they perceive to be their time with him
helps alleviate their potential loneliness and isolation.
E: In terms of theatrical space, how has working in the
Lyceum affected your work on the piece?
GP: We are thrilled to be working in a larger venue and hope
the play is popular with audiences. It should be a tonic in
these ever-increasingly tough times - once again, I think of
"Inishmaan" as a very funny play. Working in a new space
always has its particular challenges and the REP Space's new
configuration is not different. ion has a strong track
record of adapting to new environments and conditions, so we
are confident that we'll meet the challenges effectively.
# # #
The Cripple of Inishmaan
By Martin McDonagh
ion theatre at
Lyceum Theatre in Horton Plaza
Pay-what-you-can preview Friday, April 24 at 8pm
Saturday, April 25 opening
Runs through Sunday May 10
Wednesday through Sunday, with matinees on
Saturdays (4pm) and Sundays (2pm)
Lyceum Theatre box office: (619) 544-1000
http://iontheatre.com/ or http://sdrep.org/
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