At the Gielgud Theatre in London, Mark Rylance captivates audiences with his Chaplinesque charm in the role of Jack in Seán O’Casey’s 1924 tragicomedy, “Juno and the Paycock.” J Smith-Cameron, known for her impactful role in “Succession,” undoubtedly embodies the heart and soul of the production as Juno, the long-suffering wife.
The play begins with a barrage of gunshots, setting a violent backdrop against the Irish Civil War of 1922-23. Yet, this distant turmoil soon gives way to musical hall-style comedy and the drunken escapades of the characters, creating a unique atmosphere.
As the second installment of O’Casey’s Dublin trilogy, “Juno and the Paycock” portrays the struggles of the Boyle family in a tenement. Rylance’s Jack prioritizes alcohol over his work responsibilities, forcing Juno, interpreted masterfully by Smith-Cameron, to shoulder the burden of providing for their family. Their relationship is fraught with tension; Jack finds Juno’s decisiveness irritating, while she grows frustrated with their daughter Mary, played by Aisling Kearns, for abandoning her job and with Jack for his persistent laziness. Their son Johnny, brought to life by Eimhin Fitzgerald Doherty, becomes a keen observer amidst the chaos, setting the stage for a plot twist tied to republican revenge.
Under Matthew Warchus’s direction, the cast shines brightly. Smith-Cameron commands the stage with her compelling presence, while Rylance’s flamboyant take on Jack delivers numerous comedic moments, showcasing a physicality that channels Chaplin. Together with Paul Hilton, who portrays Jack’s hapless friend Joxer, they form a dynamic duo that is both entertaining and engaging. However, the pacing in the first two acts can feel meandering, with thick Irish accents and comedic overindulgence occasionally diluting the dramatic weight.
Jack’s self-declared history as a sea captain reflects the theme of self-mythologizing, with Rylance skillfully leaning into the humor of Jack’s intoxication. Even when solo, he demonstrates impeccable comic timing, frequently engaging the audience for laughs.
Juno emerges as a strong yet realistic woman, balancing Jack’s foolishness with her own grit. Smith-Cameron anchors the show with an outstanding performance, especially as the story takes a tragic turn. Kearns also delivers a compelling portrayal of Mary, adding depth to family dynamics, despite some underdevelopment in Johnny’s character.
The production is enhanced by lively music and songs, depicting the Boyles reveling in their anticipated inheritance. Amid the festivities, O’Casey’s poignant poetry cuts sharply, echoing the family’s desire to escape their harsh reality—a sentiment that can sometimes be lost in the comedy.
The war’s pervasive influence is illustrated through Rob Howell’s striking set design, which presents the impression of a wall torn away, exposing the Boyle family’s bleak existence. Their sparse furnishings—a table, a fire grate, and a hanging crucifix—underscore their poverty, serving as a backdrop for the characters’ poignant pleas and accusations surrounding their deep losses.
As the narrative darkens, the stage transforms powerfully, delivering a striking visual moment that underscores the weight of tragedy. Juno’s heartfelt plea, “Take away this murdering hate,” before the crucifix deeply resonates, drawing attention to the ongoing sectarian strife in Ireland that would follow in the years ahead.
The production runs at the Gielgud Theatre until November 23.
