Review: A MAN OF NO IMPORTANCE at Players' Ring

The Players' Ring in Portsmouth, in its latest offering, invites audiences into the unassuming yet profoundly resonant world of “A Man of No Importance.” This 2002 musical, with its tender book by Terrence McNally and the soaring melodies of Stephen Flaherty and Lynn Ahrens, (They wrote the musical, “Ragtime.”)  gently peels back the layers of common day life into a universe of heartfelt human connection and quiet courage. Set in bustling Dublin of 1964, the production centers on Alfie Byrne (Kyle Aarons), a bus conductor whose true passion lies in the amateur dramatics he meticulously stages with his beloved St. Imelda's Players in the local church hall.

From the first notes of "A Man of No Importance" as the cast introduces themselves from the seats of Alfie's bus, we are drawn into his world. His decision to stage Oscar Wilde’s controversial “Salome” immediately sets the stage for the clashes between artistic expression, personal desire, and societal constraint that will define his journey. The casting of the mysterious newcomer Adele Rice (Sharleigh Thomson) as his Salome, despite her secrets, hints at Alfie's innate ability to see potential in others.

The production beautifully navigates the intricate relationships that tether Alfie to his world. His bond with his sister, Lily (Katie Gall), played with a poignant mix of affection and frustrated longing, is a particularly touching element. Her lament over her inability to marry her suitor, William Carney (Erik Shaffer), until Alfie marries, paints a vivid picture of the unspoken anxieties that surround him.

Alfie conceals a quiet longing for Robbie Fay (Teddy Wilkin), the bus driver, by subtly asking him to join in the theater troupe.  But Robbie is too much of a free spirit to do that as portrayed in his rabble rousing number, “The Streets of Dublin”. Wilkin makes the number even more rousing by unexpectedly accompanying the song by playing the violin.

The best humor of the play comes from the interesting mix of amateur thespians in the St. Imelda’s troupe. There is Mrs. Grace (Lori Coyle), a matriarch of the theater scene, Mrs. Curtin (Lauren Friedman), an exuberant choreographer who excels at tap, Mrs. Patrick (Geehae Moon) an eccentric Costume Designer, Rasher Flynn (Dean Torre), a handy man stage technician, Ernie Lally (Niko McPherson) a thespian prone to overacting, and Baldly (Dan Kelly), a kind hearted stage manager. (Each actors dabbles in other character portrayal as well.) And let us not forget the angry priest that stirs the wrath of his congregation, Father Kenney (John Masse).

Alfie's internal struggle is externalized in his poignant conversations with the ghostly Oscar Wilde who wrote “Salome” in the tune the "Man in the Mirror," a clever device that allows the audience to experience his deepest, most forbidden thoughts.

I call this a play with music, not a musical in the purest sense. The story lines are wonderfully advance with tunes of lament, exuberance, and calmness. Gall’s “The Burden of Life,” is emotionally powerful and wonderfully performed.  Wilkin’s “Streets of Dublin” is a foot stomping and hand clapping wonder. Kelly’s memories of his deceased wife in the tune “The Cuddles That Mary Gave,” is the tear jerker of the show sung with genuine sentiment and packed with love.

What might be called a tribute to every community theater production ever performed is the number “Art,” an insider’s look at the eccentricities of a crew putting on a production and the director’s nightmare of handling the mob. Theater folks will get it and will laugh hysterically.

While there are plenty of lighthearted moments that drive the show, nothing is more unexpected and overwhelmingly powerful than the harsh realities that invade Alfie’s life. His dream of performing Salome is squashed by the church, he learns deep secrets about those he cares most for, his closeted lifestyle brings violence and despair, and his hope for a bright future are terribly clouded. But by the show’s end hope returns as his community gathers to support his life and dreams. There’s a profound human connection and warm exchange among characters that gives an upbeat ending to a show that is an emotional rollercoaster.

While the show’s success relies on a true ensemble performance, there is no doubt that Kyle Aarons as Alfie is a casting coup. His voice is melodic, his portrayal very genuine, and the ability to change moods in many a scene are extraordinary.

Gall is the most entertaining to watch. Her performance is multi-layered and very skilled. Wilkin, too, commands attention in everything he does. Call it a few more casting coups.

Director, Ro Gavin, knows how to tell a story that moves audiences. The characters they directed are extraordinary. A small team of musicians under the direction of Breanne Battey gives perfect accompaniment and sound in the small space at Players’ Ring.

As a long time theater critic, I am amazed that I had never seen “A Man of No Importance,” This is what I call one of those “sleeper” kinds of shows that exist under the radar particularly to large Broadway musicals.  While I am 23 years late to see it, thanks to the Players’ Ring performance, it will be one of those plays I would certainly like to see again. 

New Hampshire Awards - Live Stats

Best Musical - Top 3

1. THE PRODUCERS (The Rochester Opera House)

9.5% of votes

2. SOMETHING ROTTEN! (The Barnstormers Theatre)

7.8% of votes

3. THE WIZARD OF OZ (Rochester Opera House)

7.6% of votes

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