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The Lonesome West (Modern Classics), by Martin McDonagh
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The Lonesome West by Martin McDonagh
Valene and Coleman, two brothers living alone in their father's house after his recent death, find it impossible to exist without massive and violent disputes over the most mundane and innocent of topics. Only father Welsh, the local young priest, is prepared to try to reconcile the two before their petty arguments spiral into vicious and bloody carnage.
Methuen Drama Modern Classics span the period in drama literature from the 1950s to present day. These are the most often taught plays in college and graduate studies and many Modern Classic editions feature an academic Introduction essay.
- Sales Rank: #7929154 in Books
- Published on: 2010-09-01
- Released on: 2010-08-30
- Original language: English
- Number of items: 1
- Dimensions: 7.83" h x .28" w x 5.12" l, .0 pounds
- Binding: Paperback
- 96 pages
Review
“Combines manic energy and physical violence in a way that is both hilarious and viscerally exciting.” ―Daily Telegraph
“One of the great events of the contemporary Irish theatre.” ―Irish Times
“Martin McDonagh is both a powerful writer of staying power and an individual talent within a powerful tradition ... His is a voice you will want to hear again.” ―Sunday Times
About the Author
Martin McDonagh's first play The Beauty Queen of Leenane was nominated for six Tony awards, of which it won four, and the Laurence Olivier Award. In 2003, his play The Pillowman had its world premiere at the Royal National Theatre and received the 2004 Olivier Award. In 2006, Martin McDonagh won an Oscar for his short film Six Shooter.
Most helpful customer reviews
2 of 2 people found the following review helpful.
McDonagh Taps the Absurist Tradition
By John F. Rooney
"The Lonesome West" is early Martin McDonagh about the forlorn west of Ireland where according to the author the inhabitants tend to be isolated, insular, slow-witted, barely civilized, violent, and dangerously unneighborly. Remember hearing about the theater of the absurd, the theater of the ridiculous and the theater of cruelty? Here we see it taking on a new life and veering off in a loony, kookie, and gory direction. "In Bruges" shows you later but barely less than barbaric McDonagh. Frequent outbreaks of black comedy, burlesque, farce, and shock and awe emerge.
His characters are drinking the local hootch--poteen. None of the play's inmates can remember whether the local priest is Father Walsh or Welsh, but spiritually he's of no consequence anyway. The only bright lights in McDonagh's plays seem to be good-looking, quite young local lasses who are fiercely independent and don't mind killing things.
The priest has a crisis of faith (did he have any to begin with?) and a tendency to drink too much. McDonagh seems to feed on Irish stereotypes. Two brothers, both dimwits, living together are constantly feuding. One brother has offed his old man for a trivial slight. The other brother keeps silent about it but only because his sibling has signed all the family property over to him.
They are screwball characters: two of the three stooges, Abbot and Costello, Laurel and Hardy in their dialogue riffs. You're on a merry-go-round of illogical talk absurdist dialogue. The brothers in this play fight over nonsensical stuff, partly because both are dumbbells.
What is the meaning of it all? It's like Pinter's Homecoming but more violent and goofy, but with less significance and artistry. Pinter digs deeper, is a bottom fisher: McDonagh feeds closer to the surface.
The younger brother, Coleman, is flippant, irreverent toward the priest. The characters in general are impious, disrespectful with an irreligious attitude toward faith. Between the brothers, Coleman and Valene, there's pent-up violence. It's a village with a sick group of inhabitants. Cats have more value than people.
People in a McDonagh play apologize, but they never really mean it. Right after a faux apology they throw more fat on the fire in an orgy of self-destruction. Bad facts and secrets come out in the dialogue. The brothers give a litany of bad, hateful stuff they've done to each other which increases their mutual hatred for each other.
Brothers in a McDonagh play like the brothers in "Pillowman" seem to deliberately destroy their own kin by their actions.
There is violence and cruelty as nasty people take revenge. Should we worry about these numbskulls, even feel concerned? It's such fun to watch them going at it. And isn't that McDonagh's purpose making us laugh and feel uneasy all at the same time?
0 of 0 people found the following review helpful.
McDonagh Rocks
By Cailin Heffernan
So hilarious and wrong. I love McDonagh. Saw it on B'way and it knocked me out.
0 of 4 people found the following review helpful.
3 star
By Joan Denecour
We were impressed with The Beauty Queen of Leanane. We saw the play at two separate venues years apart with different actors. We believe this was his finest work. We like this play, but quite frankly, we haven't taken the time to review it yet.
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