Here’s a bold statement: Misterman, Enda Walsh’s modern classic, is back—and it’s more hauntingly relevant than ever. But here’s where it gets controversial: can a nearly 30-year-old play still resonate in a world that’s moved on? The answer, as ALSA Productions’ revival in Cork proves, is a resounding yes. And this is the part most people miss: Walsh’s genius lies not just in his words, but in how his work continues to mirror our deepest anxieties, even decades later.
Nearly three decades after Disco Pigs catapulted him into the spotlight, Enda Walsh remains a titan of Irish theatre. His résumé is a testament to his versatility: acclaimed plays, librettos, a collaboration with the legendary David Bowie, and even the screenplay for the upcoming Chitty Chitty Bang Bang remake. Yet, it’s in Cork—the city where he honed his craft—that his work feels most at home. This revival of Misterman isn’t just a trip down memory lane; it’s a bold reminder of why Walsh’s voice still matters.
First staged by Corcadorca in Cork over 25 years ago, Misterman has seen iconic interpretations. Walsh himself played Thomas Magill in the original one-man show, while Cillian Murphy brought the role to life in a 2011 revised version that toured Galway, London, and New York. Now, actor James De Burca steps into these monumental shoes, embodying Thomas, a devout yet tormented soul besieged by a cacophony of voices. These voices, echoing from tape decks in his cluttered bunker, are a Beckettian chorus that blurs the line between reality and delusion. Thomas’s occasional forays into the streets of Inishfree—to buy Jammie Dodgers for his mother—reveal a picaresque world of locals whose sins he meticulously records in his notebook.
De Burca’s performance is nothing short of remarkable. Not only does he memorize a staggering amount of dialogue, but he also dares to follow in the footsteps of an Oscar-winner on his own turf. While a few first-night jitters peek through, his portrayal of Thomas’s rage and vulnerability is deeply affecting. Supported by the vocal talents of Fionula Linehan, Ciarán Bermingham, and John McCarthy, De Burca anchors the production with raw authenticity.
Sadhbh Barrett Coakley’s direction is assured, weaving together set design, lighting, sound, and costumes into a cohesive tapestry that plunges the audience into Thomas’s fractured psyche. The claustrophobia and dislocation of his world eerily echo our own pandemic-induced isolation, making the play feel uncomfortably timely. Even when fleeting moments of hope appear, a mounting sense of dread underscores every scene, culminating in a bleak—if somewhat predictable—finale.
Here’s the controversial question: Does Misterman rely too heavily on its dark tone, or is its bleakness precisely what makes it so powerful? Al Dalton’s confident direction and the production’s admirable ambition suggest the latter. While Walsh and Corcadorca once defined Cork’s theatrical heyday, this revival proves there’s still plenty of life left in the city’s stages.
Misterman runs at the Cork Arts Theatre until Saturday, November 22. Don’t miss it—and let’s debate: Is this revival a triumph, or does it fall short of the original’s legacy? Share your thoughts in the comments!
