MARK SAVITT AND EVA HEINEMANN REVIEW THE SAVOIR
Irish Repertory Theatre Presents
Landmark Productions
Written by Deirdre Kinahan
Directed by Louise Lowe
Scenic and Lighting Design by Ciaran Bagnall
Costume Design by Joan O’Clery
Sound Design by Aoife Kavanagh
Marie Mullen as Maire
Jamie O’Neill as Mel
Featuring Voices of:
Belle Boss as Lucy
Alex Finucane as Sean
Jonathan White as Martin
MARK SAVITT:
In Deirdre Kinahan’s THE SAVIOUR, an elderly Irish woman, Maire (Marie Mullen) on her birthday, addresses a long monologue to Jesus. She informs Him that she has unexpectedly had great sex with Martin, a younger man she has met through her church affiliation. She had never had such exciting erotic moments with her deceased husband whom she loved and took care of. She seems revivified by her connection to this man who she feels is a good man who has repented his sins.
Mel (Jamie O’Neill), one of her adult children, arrived that morning to deliver a birthday present and have a serious conversation with his mother.
The present is a doll whose eyes open and close. It seems that he wishes to infantilize his mom and urge her to maintain a childish innocence. Maire feels that she has a right to present herself as a sexual adult woman in a relationship with a man.
Mel confronts his mom with information gleaned from the internet that connects Martin with a sordid and criminal past. With good reason, he wishes to protect his siblings’ children, Maire’s grandchildren, from contact with Martin.
Maire insists on seeing Martin as repentant and forgiven by Jesus while she condemns her son for his, as she perceives it, sinful lifestyle.
Are there limits to what Jesus can forgive? Who, other than Jesus, is the savior. Is it Martin who resurrects Maire’s body and soul, or is it Mel, the son who wishes to save his mom and her family from harm?
The play raises more questions than it can or should answer. The ending seems to propel Maire into a dark and loud challenge to her trust in Jesus.
Marie Mullen delivers a tour de force performance and Jamie O’Neill creates a strong foil.
HAPPY FACE
EVA HEINEMANN:
This might be construed as a spoiler alert if you’ve seen me arguing with Mark in the past about this subject matter.But I just have to point out the discrepancy.
The argument before the Mom and son made me think of me arguing with Mark over “Downstate”. To me there are actions that are irredeemable and I have no sympathy for them. Surprisingly in this play and case Mark agrees with me but still maintains the question if there is a point of forgiveness or at least caution.
I admit I did have my suspicions of Martin as he took so long to make coffee.
Mark got it all wrong about Mel infantilizing his mom.It was a truly thoughtful sentimental gift as it was a replacement for a doll she lost in her youth that she always longed for. That her son remembered this story and wanted to make her happy and close off a regret in her life is admirable.
Deirdre Kinahan is a sly writer as she drops these throw away clues that go by so fast you almost miss them. They completely change your perception of the characters every time these tidbits are dropped.
The acting was monumental. Marie Mullen gets your attention immediately. I instantly fell in love with her character as she reminded me of Scarlett O’Hara after Rhett Butler had his way with her.
Jamie O’Neill was amazing as he navigated between a dutiful son with a difficult mom.
I believe in The Savoir!
HAPPY FACE
END AUGUST 13TH
REMAINING PERFORMANCES:
Tuesday and Thursday at 7pm
Friday at 8pm
Wednesday & Saturday at 2 & 7pm
Sunday at 3pm
Irish Rep
132 West 22nd Street
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