No doubt with a nod to the USA’s 250th birthday last week, Druid Theatre’s 2026 season is called ‘Strange Country: Ireland in America’.
But there is perhaps another theme in director Garry Hynes‘ choice of The Shaughraun: how we treat the other.
The Shaughraun, written by Irish national Dion Boucicault in 1874, played extensively in America on its release, and challenged many of the stereotypes commonly associated with the Irish during the late nineteenth century.
In Victorian New York, immigrants from this isle were thought to be violent, unruly, and politically suspect, or fit only for domestic servitude.
Writing a peasant as the hero of the story, Boucicault changed the narrative possibilities for the Irish on stage by creating roles beyond servant and drunkard, cementing Ireland as a powerhouse in theatre.
The Shaughraun is designed to captivate audiences with melodrama, combining breathless adventure, romance, and political tensions with clever comedy.
Arriving at a Town Hall Theatre preview on a misty evening, I had completely forgotten what the blurb informed me it would be about.
Sitting in the balcony of a packed house clutching a glass of cabernet, I speculated with my companion that perhaps this would be a tourist romp – the opening set had a large panel with “Ireland: land of scenery and romance” written across it…
Instead, we were transported back to rebellion times, spun a tale of injustice, love, and a fair bit of cheek on a restless island awash with division.
Clare Ffolliott (Megan Cusack ), sister of Robert Ffolliott (Marty Rea ), a convicted and escaped Fenian, spits fire while a gentle British captain (Fintan Kinsella ) searches for her brother in their tiny parish.
Complicating matters is a corrupt magistrate (played by Rory Nolan ) looking to grab land and Robert’s betrothed. Robert tries to avoid the authorities without getting his adoptive father, the priest (Peter Daly ), in trouble.
Other cast members (Eileen Walsh, Jamie Beamish, and Pattie Maguire ) add colour and intrigue.
And capricing around the whole lot (though always on the side of the underdog ) is Conn, the eponymous ‘shaughraun’.
Druid’s first production of the play since its 1982 run in Galway is neither too much nor too little, but well executed within the troops’ means.
The visuals are detailed enough to interest the eye but not enough to be overwhelming.
The set (designed by Francis O’Connor ) is printed with old maps, hinting at the land war at the heart of the story; while the costumes (designed by Clíodhna Hallissey ) are historically and characteristically accurate, from a muddy hem to a clean, red coat. A clever effect mimics the splash of water as a man goes over the cliff, and a puppet dog steals the show.
Music (composed and performed on piano by Conor Linehan ) is played nearly the entire duration of the production, adding great emotional depth to the scenes.
While the original script calls for over thirty people, this cast has ten. The editing is skilfully done so that the play does not feel stretched, but pared back enough that it is easy to follow.
The small cast includes actors making their Druid debut, as well as long-time ensemble members like Marie Mullen; Cusack and Daly have especially strong performances as Clare and Fr Dolan respectively.
But while all of the actors make the most of their roles, the titular hero steals the show: Aaron Monaghan simply is Conn, the Shaughraun.
As the lights fell at the last scene, the mood was one of pure delight. For a few hours, at least, authority was subverted, love prevailed, and the Shaughraun finds a heart.
This preview show received a deserved, standing ovation. In a time when Ireland finds itself on the receiving end of increased immigration, it is an important reminder of the deep prejudices the Irish faced abroad not that long ago.
And perhaps a reminder that the true Shaughraun is a champion of the oppressed, not the powerful.
