The Big Fellah – Northern Stage, Newcastle upon Tyne
Writer: Richard Bean
Director: Max Stafford-Clark
Reviewer: Michael Hunter
The Public Reviews Rating: 




Set in Doyle’s haven (brilliantly created by Tim Shortall) we see the comings and goings of many fugitives, all hiding-out with transit on their minds. To be smuggled, with false documentation, over the border into Canada is their aim – not all will get there! If the hierarchy of the IRA Council have decreed you as being unwanted, then ‘sending them to Mexico’ (a euphemism for being murdered) will be the order.
The orders come through ‘The Big Fellah’ David Costello (Finbar Lynch) a tough Irish New Yorker, who delivers his messages from Dublin with congratulatory glee!
Ruairi O’Drisceoil (Luke Griffin) has been sprung from Long Kesh (‘H’ Block) prison after shooting dead a British soldier. He is loyal to the cause and Canada seems his only option. Costello brings news to him that Dublin wants him to surrender and be tried for political reasons, maybe make him out to be a martyr. Orders must be obeyed, and after meeting with Karelma (Yasmine Akram) she agrees to help him gain US citizenship. But what price will he have to pay for this?
Doyle’s lover Elizabeth Ryan (Lisa Kerr) is another ‘on the run’ republican, but the FBI seem to know a lot of what is being discussed in the safe house and suspicions arise that she is divulging information. On orders from Costello, Tom Billy Coyle (Youssef Kerkour), a sympathising corrupt policeman, is brought in to make sure she is ‘Mexico’ bound!
A catchment of arms from Libya is intercepted en route to Ireland by the authorities and this prompts Frank McArdle (David Rintoul), a ruthless ex-alcoholic murderer, being sent by the IRA to try and find out who is the snitch.
All in all, this is a wonderful piece of theatre with a superb climax. Flawless performances were given by all on stage, although I think the violence of McArdle could have been choreographed a little better, as there were a few punches out of synch, so no awards for the fight scenes! Lynch held the superiority card for his portrayal, but Griffin’s tom-foolery was superb to see.
Bean’s vision for ‘The Big Fellah’ came when he saw monetary collections in New York after the 9\11 bombings – perhaps four of five years earlier it would have been for the IRA – and his writing style is fluid and easily accessible.
Max Stafford-Clark’s direction delivered, with every detail, a great production.
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