As cogent as the material is, or ought to be, it amounts to 90 minutes or so of pointlessness, with what little pathos there might've been spiralling into unintended parody.
All this hype aside, it is on several levels an excellent musical, filled with fascinating ideas, engaging characters and production values virtually second to none.
A gifted embroider of words, Friel combines soft lyricism and hard meaning in his play, a tragical comical historical pastoral on a spree and spoiling for a spirited spar.
In the care of Pinchgut Opera’s director, Erin Helyard, this music, formulaic as it indeed is in some respects, sprang off the page into an experience rich in emotions.
Iolanthe and Janet Anderson work in cosmic, comedic accord, characterisation charismatic, timing impeccable, delivery precise, together a tour de force that ascends the cliché.
Blind faith and rational belief are always sparring partners in dramatic conflict and so it is here with the power play tinged with superstition and salaciousness.