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To heighten the point, one of the daughters walks on holding a baby; not one of those realistic-looking and properly weighted baby props, but an actual infant with legs a-kicking. This role is essayed by four alternating infants; the one I caught was thoroughly intent on his performance, although in his second scene he clearly seemed to indicate that he expected someone to come along and play with him.


The Ferryman is, among other things, about family: The Ferryman , though, makes it immediate and altogether comprehensible; it also shows how the chain of violence—starting with the Easter Rising in —has consumed this Carney family over four generations and up past the final curtain. Speaking of generations, 14 of the characters are family members, all named Carney. Butterworth and Mendes, and their abundantly talented cast, manage things so that each and every Carney—from youngsters to octogenarians—is distinct and memorable.

Which, in itself, is notable.

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Much of the cast all, it seems, except the preteens has traveled with the play from London, where it opened at the Royal Court and transferred to the Gielgud. To give proper credit to the large cast is impractical; just about everyone is superb.

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We shall suffice by mentioning the three elderly Carneys: The actress was altogether striking, but the production was an unfathomable mess. All are giving assured performances. The last is 7-year old Honor, who calls herself Cleopatra and at one point refers to her father, Quinn, as Julius. Butterworth gives her a couple of adult-size laugh lines, and she demolishes them.

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Mendes has pulled marvelous performances from them all, and protean contributions from his production team. The scenery by Rob Howell—of Matilda —is almost overpowering, with the farmhouse kitchen monopolized by a staircase which seems to go up into infinity. Quinn Carney, the family breadwinner played with quiet conviction and an air of melancholy by Paddy Considine, oversees a household of seven children some played by excellent child performers who are wonderfully unselfconscious , two aunts, an uncle and Caitlin Laura Donnelly , the sturdy but secretly vulnerable kitchen goddess of this house.

The Ferryman Broadway @ Bernard B. Jacobs Theatre - Tickets and Discounts | Playbill

The unsentimental voice of reason, foul-mouthed, chain-smoking Aunt Pat can always be counted on to cut through the romantic poetry and speak the bitter truth. The tensions that are brewing in Act One come to a head in Act Two, when the harvest is in and the Carneys and the Corcorans and the rest of the harvesters sit down to eat the cooked goose that Caitlin has prepared for the feast.

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Uncle Pat makes the point obliquely, when he reminds the family that Darius The Great stopped The Persian War to give the Greeks time to harvest their grapes. The harvest is breath and life and spirit and hope. The sad thing, indeed, the tragedy of it, is that this time, not even the harvest is sacred.

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And we can only watch in horror and dread as the extraordinary characters that Butterworth has brought to life are snuffed out, emotionally and in some cases literally, by political events that not even the harvest gods have the power to vanquish from this bloody, war-ridden earth. Opened October 21, , reviewed Oct. Directed by Sam Mendes. The music company will form a new unit, Concord Theatricals. Financial terms of the deal were not disclosed. The merged business will boast not only Samuel [ Gelbart was born in Minneapolis, Minn. True, the principal skills of lead teen Cher Horowitz are the superficial ones of mall shopping and makeovers.

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But her sweet spirit and independence, plus some added P. You will be redirected back to your article in seconds.