A tender, touching and, yes, truly haunting performance of The Weir awaits you at the Irish Repertory Theatre, which has presented Conor McPherson’s drama three times since 2013. Opening on Thursday, this latest revival features a trio of fine actors who have played their roles as lifelong chums among Irish Rep’s previous productions. Observing their easygoing comradery, it’s evident that Dan Butler, Sean Gormley and John Keating are performing in a deep groove as old friends sharing drinks and telling stories. Joined by Johnny Hopkins and Sarah Street, these closely meshed ensemble performances are so authentic that you may leave the theater redolent of Guinness.
Composed and set in 1997, The Weir is a subtle drama that runs deeply in many ways and yet functions perfectly well on the surface for viewers who can enjoy it simply as several offbeat supernatural tales spun out by Irish storytellers one dark and stormy night.
That’s the situation one evening in a little rural pub in County Sligo on Ireland’s rugged western coast. Jack (Butler), a garage owner, Jim (Keating), an odd jobs handyman and Finbar (Gormley), a real estate developer, spruce gents in later middle age, get together in the pub owned by Brendan (Hopkins), a younger fellow. They gingerly welcome into their midst Valerie (Street), a comely newcomer from Dublin, who recently took the lease on a long-vacant house.
[Read David Finkle’s ★★★★☆ review here.]
Seemingly meandering talk about local history and nearby sights – the weir that partly dams a river, for instance – leads into an odd anecdote about Valerie’s old house, supposedly built across a road the Celtic fairies once used to travel. Other curious yarns will follow; experiences of unseen presences, about a stranger encountered in the graveyard, about – well, let’s not divulge more of the play’s content and themes except to note that people can be haunted by all sorts of things that are not necessarily supernatural. With its literally nearly weird title, The Weir considers those not quite spooky yet not quite explainable incidents than can occur in life. Just like a weir, the play contains unexpected depths and currents of emotion that several characters only gradually will reveal, and what begins as merely brews and banter develops during 100 minutes into an intimate study in compassion and kindness.
The gentle Irish lilt written by McPherson into the characters’ seemingly everyday language lends poetic touches to his play, which has been surely and sensitively staged by Ciarán O’Reilly, the company’s producing director. Like McPherson’s later The Seafarer drama about a devilish game of cards, The Weir is one of those layered works that rewards more than one viewing; little wonder why it has become such a favorite with audiences at Irish Rep. It is good to see a repertory company live up to its name by keeping certain great plays in rotation among its seasons.
A cozy, realistic interior for Brendan’s pub is furnished with abundant detail by scenic designer Charlie Corcoran and warmly burnished by Michael Gottleib’s lighting. The homey properties provided by Deirdre Brennan, the plain, insightful clothes contributed by Leon Dobkowski and the fluctuating sounds of the storm outside as whipped up by Drew Levy contribute to the production’s subtle power.
Amidst this persuasive environment, a superb company of five actors delivers believably natural performances as their characters talk of supernatural matters and issues relating to existence in a lonely place. Sparked by Dan Butler, whose character’s peppery manner conceals inner regret, the ensemble brings to life an exceptional play handsomely staged in a nice 148-seat theater, and that’s about as solid an Off Broadway experience as anyone can wish for this summer. Never seen The Weir? Now’s your chance.
The Weir opened July 17, 2025, at the Irish Repertory Theatre and runs through August 31. Tickets and information: irishrep.org
