The Seafarer: For Fans of Masterly Acting

For all of you fans of masterly acting, hie thee hence to the Booth Theatre and catch the Broadway production of Conor McPherson's The Seafarer.

From the press notes, The Seafarer is a "chilling new play about the sea, Ireland, and the power of myth. It's Christmas Eve and Sharky (Morse) has returned to Dublin to look after his irascible, aging brother (Norton) who's recently gone blind. Old drinking buddies Ivan (Hill) and Nicky (Mahon) are holed up at the house too, hoping to play some cards. But with the arrival of a stranger (Hinds) from the distant past, the stakes are raised ever higher. In fact, Sharky may be playing for his very soul."

I don't want to go into the plot, but anyone who reads the press synopsis above or takes a look at the show logo can deduce that this is a familiar story that goes back to the dark ages. What Conor McPherson's script does is add some fascinating and drunkenly irrepressible characters to the mix, providing knockout showcases for actors at the pinnacle of their game.

David Morse (of Disturbia and countless other film and TV projects) plays the darkly quiet Sharky. His performance is a study in restraint. Sharky is a mysterious protagonist, almost frustratingly so at times, and Mr. Morse plays all of his cards close to the vest, providing an excellent counterpoint to his showy and boisterous stage mates.

Ciaran Hinds (most recognizable to Americans who watched the 1st season of Rome on HBO) also acquits himself nicely in the role of the immortal Mr. Lockhart, though his character does tend to wax on and on.

However, the two superb standouts are Jim Norton and Conleth Hill, reprising their roles from the London production as Richard Harkin and Ivan Curry, respectively.

Conleth Hill as Ivan is a sight to behold. Alcoholic, pudgy, prone to running into furniture at full tilt, he possesses a walrus's moustache, which he incessantly licks like an obsessive-compulsive toad.

Jim Norton's Richard is literally blind drunk. His performance cannot be described, it has to be seen. It is quite possibly my favorite stage performance I have witnessed to date, and I loved Frank Langella in last season's Frost/Nixon. Just a few of my favorite moments occurred when he would grab his cane like Don Quixote to go drunkenly tilting at the winos outside his flat. If you can, watch his face near the end when he describes Mr. Lockhart as having a "funny smell" or the moment he has with his brother after he gives him his Christmas present. Jim Norton won an Olivier for this role and, I'll call it right now folks, he will win the Tony.

Jim Norton and Conleth Hill are giving the kind of richly detailed performances that only actors of their stature who have fully absorbed a play into their physiognomy can give. Not a moment is wasted. Not a look or a line is simply thrown away. They lift a play that was for me only "okay" into the stratosphere.

As director of his own work, Conor McPherson helms a stellar crew though the ship may be a little leaky. I'll be interested to hear what other viewers thought, but for me the inherent high stakes that needed to be there for the poker game was missing. Then again, it was previews and maybe the newly assembled cast are still finding their sea legs. Jim Norton and Conleth Hill, however, make this a must-see for actors who love watching masters of the craft.