Displaying items by tag: Brendan Coyle

Brendan Coyle is no Mr. Bates when it comes to his latest stage endeavor. Instead, the Olivier Award-winning actor, best known for his role on Downton Abbey as the likeable, mild-mannered, ever so loyal valet to Lord Crawley – Mr. Bates, takes on a persona far removed from what most of us are accustomed to seeing him portray. In Goodman Theatre’s ‘St.Nicholas' Coyle plays an resentful, cynical theatre critic with an unbelievable story to tell. Coyle's performance commands audience attention from beginning to end without a moment otherwise.

The first couple minutes of the monologue play are already filled with intensity. Coyle doesn’t even have to utter a single word as he tosses handfuls of rice in various areas of his disheveled apartment – chairs overturned, windows plastered in old newspaper. It looks like the place was ransacked. After penetratingly staring out to the crowd, he finally takes a seat and begins to tell his story. Upon revealing that he is a theatre critic (which alone in itself conjures a hearty, collective laugh in the way he says it), he admits he has been harsh in his reviews due to jealousy. He is a powerful critic. His reviews can make or break a production. The first act offers a great amount of depth into his character in a gripping monologue that only playwright Conor McPherson could pen. The description of his life as a critic laid out so well and superbly delivered, we get a perfectly painted picture. We feel his frustration, his pain and his triumphs. We feel for the character. In true McPherson style, who has given us such powerful productions as “the Seafarer’ and ‘Dublin Carol’, the play is filled with dark humor, plenty of F-bombs, drinking and, of course, deep soul searching.

“When I was a boy, I was afraid of the dark… What was there. And maybe one of the things I thought was there was vampires,” our critic says in the first act. It’s not the only mention of vampires in the play’s first half. Though riding along with perfectly timed moments of humor, “St. Nicholas” becomes more of a psychological thriller as it progresses. The Dublin theater critic tells us how he gave up his everyday life for a beautiful actress, an actress whose spellbinding grace, beauty and charm won him over while reviewing a play he planned to trash. As he describes the actress, it is obvious there is no turning back in his mind. His obsession, he reveals, leads him to strike a deal with a community of modern-day vampires and that’s when we are taken on a journey like none other, as we hang on his every word.

The second act takes place in a candlelit setting – almost presenting an atmosphere like that of a ghost story told around a campfire as we are given the devilish details of his interactions with the band of vampires. Candles burn on the window sills, his desk, the floor. There is no stage lighting directed to Coyle’s face. Instead, the glow of small flames flicker about, allowing just the perfect amount of lighting to most effectively create just the right ambiance as he tells his dark tale. Peter McKintosh does a masterful job with set design and Matt Daw with lighting while Simon Evans' direction is flawless.

Towards the end of his magnificent story Coyle's character then wonders if it was real or just a dream. “After all, what is a dream and what is real?” he then asks while offering several scenarios of which can so be defined as a "dream". Perhaps, as he suggests, our dream moments are real and what we perceive as our awake moments are in fact dreams. The play, after all, is inspired by McPherson’s own dream - where he was bitten by a vampire and given two pain killers.

Emmy Award nominated Brendan Coyle is outstanding. He is a true stage presence and has the ability to reach out to his audience in the most effective of ways – a true master of the stage.

I wholeheartedly recommend ‘St. Nicholas’ at Goodman Theatre as Coyle’s performance is not to be missed – enthralling, powerful and perfectly executed humor – a theatrical delight. Catch this limited engagement that comes direct from London's internationally renowned Donmar Warehouse.

‘St. Nicholas’ is being performed in Goodman’s cozy 350-seat Owen Theatre through January 27th. For tickets and/or more show information, visit www.goodmantheatre.org.