The Brightening Air 

Written and directed by Conor McPherson

The Old Vic, London (10 April – 14 June 2025)

Review by Amanda Vilanova

The curtain rises on a decaying farmhouse in rural County Sligo, Ireland, in the 1980s. The farm is kept by siblings Stephen (Brian Gleeson), living from task to task to stop himself despairing, and Billie (Rosie Sheehy), who is autistic and in his care. They are barely getting by. The arrival of their older brother Dermott (Chris O’Dowd) and their uncle, Pierre (Seán McGinley), a blind priest, sets off this family drama written and directed by Conor McPherson.

Dermott is in the midst of a mid-life crisis but is much better off than his siblings. He has money, a devoted wife, Lydia (Hannah Morrish), who is searching for him, and a young lover he unashamedly brings along. Pierre arrives with his housekeeper, Elizabeth (Derbhle Crotty), for what seems to be a standard visit until, late in the play, he reveals his plans for the estate.

The Brightening Air draws inspiration from a range of sources. Its title references W.B Yeats’ poem ‘The Song of the Wandering Aengus’ and, as with the poem’s magical fish-turned-mermaid, there are magical elements that influence the plot. The water from a nearby well is rumoured to cause whoever drinks it to fall desperately in love with the first person they see when they wake and the physical health and demeanour of characters change suddenly due to supernatural forces. The play unfolds much like Anton Chekhov’s Uncle Vanya, set in one space, with a family history being revealed to us slowly. There are glimpses of Stephen’s past encounters with Elizabeth and of Billie’s undefined relationship with Brendan (Eimhin Fitzgerald Doherty), the farmhand. Meanwhile, Lydia begs Stephen to bring her magic water to win back Dermott’s affection.

The family fights over inheritance and property, though this is not McPherson’s primary focus. Instead, he explores how each character’s desires and sacrifices have impacted those around them. The play is about people who have not found what would make them content and, more interestingly, about the things within them that prevent their happiness.

The first act moves slowly, with teasing between siblings and scenes that reveal who they have loved and lost. There are some great moments and memorable lines; however, the first act lacks momentum and emotional intensity, and struggles to hold our attention. The second act begins with more vitality, as the family airs years of resentment, culminating in wrestling — both physical and emotional. McPherson’s staging is awkward at times, with furniture moved continuously by the cast and some unrealistic stage combat that pulls us out of the action.

The magical elements are well woven into the story. The well’s water changes the relationship between Dermott and Lydia and symbolises the uncontrollable nature of love, reminding us to be careful what we wish for. The characters’ qualities and conflicts are compelling and there is a clear sense of place and time. However, jokes don’t always land, and the introduction of the estate’s future comes so late in the play that there is no overarching sense of tension. The individual characters’ relationships, rather than the whole family’s story, are what sustain the play.

The performances, however, are worth watching. Sheehy is funny and touching as Billie, making the most of the play’s strongest dialogue. She moves between humorous quips and conflicting feelings with ease and believability. As the play ends, she delivers its defining line: ‘Life is really about forgetting.’ These characters, like many of us, choose to forget in order to make their journey through life a little easier.

Gleeson builds Stephen’s character slowly, with a nuanced portrayal of his inner turmoil. From his first entrance, Chris O’Dowd, as Dermott, injects energy into the production, clarifying the play’s hierarchies and relationships. O’Dowd is funny, dynamic, and a joy to watch. The rest of the ensemble deliver solid performances. Hannah Morrish manages to portray Lydia’s yearning for Dermott without playing the victim, and McGinley’s Pierre is an entertaining, Vanyaesque presence. Eimhin Fitzgerald Doherty’s interpretation of Brendan, whose love for Billie keeps him doing unpaid work, pulls at the heartstrings.

The set is simple but effectively communicates the state of both the farm and family. The lighting design is well-crafted, reflecting characters’ emotions and the events of the plot. Although the music is used sparingly, it adds to the setting and overall mood of the piece. Billie plays a melody on the piano, reminiscent of Ravel’s Pavane pour une infante défunte, evoking the character’s missed opportunities.

Though McPherson doesn’t manage to hold the audience’s attention from beginning to end, love and longing are portrayed honestly in his latest play.

https://www.oldvictheatre.com/stage/the-brightening-air/

Amanda Vilanova

Amanda Vilanova is a Puerto Rican writer, actor, and translator based in London.