Sanity,
says
one
of
the
characters
in
this
week’s play at Richmond Theatre, has
this disadvantage compared with insanity:
it isn’t curable.
Billy
Beavis’s 10
months in the lunatic asylum leave him at
odds with the family, in that
he says exactly what he means and refuses
to be side-tracked by the
ploys of everyday social intercourse. His
friend Teddy from the asylum,
proves himself even more devastatingly
sane by exacting a murderous
revenge on Billy's tormentor. No
simple
recounting
of the plot, however, will do justice to
this bitterly
humorous play, ‘The Poker Game’ by Hugh
Leonard. The self-destroying
attitudes of the sane characters, mother
with her insistence on
respectability, Kevin cloaking his
dishonesty with bluff assertions of
good faith, Fran, his wife, dedicatedly
pregnant, are set against
Billy’s single minded indifference to
circumstances.
Hugh
Leonard’s
play succeeds not only in posing some of
the problems underlying the
superficially stable mental world, but
doubly and triumphantly
providing a stimulating evening at the
theatre as well. The nettle of
presenting mental disturbance on the stage
is grasped with security and
judgement. The characters are memorably
drawn; the sequence of the
action is convincing, and the dialogue
witty, pertinent and lucid.
That
the
accomplished actor Stephen Murray had a
particular wish to play the
part of the extravert Teddy is
understandable, and his is a performance
which, in its mingling of zany
irresponsibility and appalling logic,
makes a memorable theatrical event.
Equally valuable to the action and
haunting to the imagination is Patrick
Godfrey’s characterisation of
Billy Beavis, with his periods of silent
intensity and others of that
complete relaxation of the mind so suspect
to the obsessively
level-headed. Anne
Woodward
has
the difficult task of suppressing sympathy
for the mother and does this
intelligently. Robert Jennings, who seems
to possess the only authentic
Irish accent in the cast, also hits off
the Irish temperament
effectively as Kevin, and Jennifer McNae
completely fulfils the
author’s misogynic intentions as Kevin’s
wife.
I hope
that on
future evenings, the audience will be more
co-operative during the
complete and disturbing silence with which
the play opens. Richmond has
two weeks of this fine drama.