Marina Carr's "By the Bog of Cats" weaves a tale reminiscent of Euripides' "Medea." Set in a place deep within the culture and myth of Ireland, time is not discernable in Carr's play, giving it the ability to transcend the constraints of any world; the play rings true and hits home for all generations.
Directed by Rose Carlson, "By the Bog of Cats" is proudly presented in the small non-profit Devanaughn Theatre, located in the South End. Situated behind Bob the Chef restaurant, the theater itself is hard to find; however, once revealed, it is hard to forget. The small stage provides an intimate setting that transports the audience into the world of the play, giving a chance for the individual to interact with the story on a more personal level.
As mentioned before, the story is reminiscent of "Medea" although is by no means an adaptation or a mere modernization of the
haunting Greek drama. Carr takes the images and themes of "Medea" and transforms them into something that goes beyond providing a simple cathartic release. There's such vitality and conviction in the characters that one can't help but empathize, especially with protagonist Hester Swane.
Like Medea, Hester is spurned by her long-time love, Carthage Kilbride, as he makes the practical decision to marry the daughter of a rich landowner instead of Hester. Complicating matters is the custody of their daughter, Josie, who Carthage wants to bring along on his honeymoon. Hester, pathologically tied to Carthage, snaps at this betrayal and must exact revenge.
Dani Duggan as Hester gives a commanding performance. Her portrayal not only makes one weep, but also leaves one breathless from the passion Duggan bestows upon her words. Her stage presence blows the other actors out of the water.
Liz Robbins gives another commendable performance as Catwoman, the ever-present blind and wise character in most Greek plays. Although the character is a bit of a loon, Robbins takes it with poise and grace.
Ann Marie Shea plays Mrs. Kilbride, the epitome of what children everywhere do not want their mothers to be. Shea is the prime source of laughter, providing comic relief in an otherwise overwhelming play.
One weak note is Sarah Smith's portrayal of Josie, Hester's daughter, which leaves much to be desired, but the cast as a whole does an exceptional job.
Carr weaves together a ball of intricately tied characters - a story of love, betrayal, home, waiting and myth - all trapped together within their own sense of destiny and morality. There is no sense of holding back; everything is voiced, no matter how hostile or intimate it may seem. When violence is present, it's portrayed with such grace and passion that it is not just another bloody scene, but one that drives the message home.
One of the prevalent ideas of this play is home and the sense of belonging it provides. All the characters - especially Hester - look for a place to belong, to call home, as unrealistic and unattainable as it may seem. The trials of the characters twist and jab at the heart and do not let go.
The overall feeling after the play is one of tremendous sadness, pain and heartbreak. But just take a moment to readjust to the modern world and breathe out the images and words of the play for a while. Breathe them back in and you will see that "By the Bog of Cats" is not just a gemstone of Irish drama, but one that powerfully delivers a haunting theatric experience.
