The Beauty Queen of Leenane 

Reviewed by Lara J. Altunian 
studio/stage 
Closed 

RECOMMENDED 

Thanks to the popularity of his 2017 oscar-nominated film Three Billboards Outside Ebbing, Missouri, Martin McDonagh has become known to wider audiences for his ability to weave dark humor into stories wrought with revenge. studio/stage’s revival of his 1996 play, The Beauty Queen of Leenane, recalls his ability to hone in on the human condition and pick it apart to reveal long-brewing truths that color his characters with tragedy. The story takes an intimate look at a sour mother-daughter turned elderly-caregiver relationship pushed right over the edge. A stellar cast expertly navigates through each acidic scene, every exchange painting a realistic picture of resentment at its very worst.

The Cranberries’ “Zombie” plays loudly overhead as an introduction to 1989 Ireland, but as the lights go on, the setting is revealed to be a small, messy and removed Galway cottage on the hills of Leenane. Mag Folan (Casey Kramer) is an ungrateful 70-year-old widow living with her bitter, spinster daughter Maureen (Angela Nicholas). Day in and day out, Mag sits in her easy chair near the kitchen, too lazy to fix herself a cup of tea, but energetic enough to make constant demands. Her tone starts out deceivingly sweet, but quickly turns brash when things don’t go her way. Maureen, who takes care of the entire household, is tired of being mentally abused and under appreciated. Now past 40, she regrets the twenty years she has been forced to look after her mother, who sneakily interferes with her friendships and love life.

An opportunity to go to a party allows her to reconnect with old neighborhood friend Pato Dooley (Tim Hildebrand), temporarily back in town from his big city job in London. Maureen recognizes their encounter as her last chance to fall in love, while Mag sees Pato as a threat to her current way of life with Maureen as her personal nurse. A strong climax between mother and daughter reveals long-kept secrets, selfish agendas and a wonderful setup to an unforeseen twist that leaves viewers in shock at the play’s conclusion.

Kramer and Nicholas are phenomenal at portraying two people who have been worn down from being wrapped-up in a decades-long toxic relationship. Their initial black-and-white roles as villain and victim evolve as times goes by within the play, and the boundaries that prevent each of them from fulfilling their personal goals begin to thin. McDonagh’s writing shines through their convincing interactions, punctuated by their unwavering Irish accents, which add to the story’s realism. Similarly, Hildebrand’s role as Pato balances the mix with a calming presence that allows some hope for Maureen’s bleak future, while Curtis Belz’s clueless Ray Dooley adds comic relief to every scene in which he shows up as the dim-witted messenger between the two lovers.

Nicholas’ set design vividly transports the audience to the Folan’s humble home in Ireland thanks to her detailed construction and props. The incorporation of working stoves fills the theater with smells of Mag’s frequently discussed Complan and porridge, creating a warmer and almost-inviting atmosphere that contradicts the iciness projected in the characters’ forlorn attitudes.

The Beauty Queen of Leenane is a wild ride from beginning to end, which anyone who has had to take care of an ungrateful relative can relate to. Its most extreme moments evoke a nightmarish what-if sensation that would easily haunt anyone in Maureen and Mag’s position, the horror of its possibility creating an appropriate theme for this time of year.

studio/stage, 520 N. Western Ave., East Hollywood; Closed. studio-stage.com. Running time: two hours with one 15-minute intermission.