The Playboy of the Western World by J.M Synge

Two notes to start off with: 1) this is a class book. I’ll engage with it as I do any other book I read, but I don’t really go into most class books with the same enthusiasm as I do with books I’ve chosen to read. 2) This is actually a play script, which honestly made me contemplate whether or not I should even review this. However, I figured that it’s still going to be on my end of year reading list. So, why shouldn’t I review it?

            The Playboy of the Western World by J.M Synge follows a range of characters in a small Irish village in County Mayo. It’s an odd comedy about a man who claims to have killed his father. There are twists and turns, and a whole litany of strange characters who you can never quite tell if you’re supposed to like.

In the preface, there’s a line that struck me as particularly beautiful (if somewhat pretentious): “All art is collaboration; and there is little doubt that in the happy ages of literature, striking and beautiful phrases were as ready to the storyteller’s or playwright’s hand, as the rich cloaks and dresses of his time.” When you’re in writing classes, especially in the early days, you’re often told to keep note of little phrases you hear all around you, as you never know when they’ll come in handy. This passage really encapsulates that for me.

            I need to say that, generally I really dislike reading scripts because they never have quite enough stage direction and setting to keep me engaged. However, at least in the early parts of this play, there was plenty. I know plays aren’t meant to be read, but lord knows, if I am going to read a play, I want a little more than simply speech. I want to be able to follow everything a little more closely. I mean, admittedly, I did start listening to an audio version of the play at some point to add a little bit of flavour, but it all worked together. It really helped me in terms of tone, and just generally helped me to focus.

            There’s a strangeness in how casual everybody is when it comes to the subject of murder. Christy claims to have killed his father, and Pegeen simply puts him up for the night and offers him work. Widow Quin is a widow because she killed her husband, and other than a couple of scathing comments from Pegeen, nobody is particularly fussed about it. I was left thinking there was something I’d missed. I suppose it is perhaps part of the comedy of it, but it’s still rather strange to me.

 

 

SPOILER WARNING!!! SCROLL TO THE BEAR WITH A JETSKI AND READ AFTER THAT TO AVOID SPOILERS!!!

 

 

So, in the first act, Christy’s introduction is him claiming that he has killed his father. The problem is, the father isn’t dead, and he’s tracked Christy down. I say tracked him down, he just followed him which really speaks to just how oblivious Christy really is. I just thought it was so funny that this man has been playing it up so big that he left his dad for dead, and the man is now wandering around with a lump out of his head where his son hit him with a shovel. He’s not even that angry, all things considered. Like, yes, he is mad at his son, but not really any more than you’d expect after a petty argument. I think the scene where Christy is hiding, leaving Widow Quin to deal with the father is my absolute favourite. It’s just ridiculous.

 

 

 

 

I’m not sure I can sit here and say that I recommend reading this play, but the audio version I found on YouTube (on the Tj Aruspex channel) is certainly worth a listen, and once we’re allowed again, I’d certainly say it’s worth finding a theatre company who’s putting this on.