“The Seafarer” Brings an Irish Christmas to West Palm Beach by Christopher Alan McDaniel

Connor McPherson’s “The Seafarer,” now on stage at Palm Beach Dramaworks, arrives as a fitting addition to the company’s season, offering audiences a work that is as unsettling as it is humane. Set on a bleak Christmas Eve in a small seaside town in Ireland, the play unfolds largely in one room, yet its emotional and metaphysical reach extends far beyond its modest physical confines. McPherson’s text blends folklore, existential dread, and dark humor, creating a quiet but persistent tension that lingers long after the final scene.

Palm Beach Dramaworks has mounted the production with a strong sense of place, most notably through its evocative set design. The living room where the action unfolds feels thoroughly lived-in, from the worn furnishings to the muted color palette that suggests both physical cold and emotional weariness. The set does not merely serve as a backdrop but actively contributes to the play’s atmosphere, grounding McPherson’s undertones in recognizable actualizations. The result is an environment that draws the audience into the rhythms of the characters’ lives, making the extraordinary elements of the story feel unsettlingly plausible.

The play centers on a small group of men whose relationships are shaped by obligation, resentment, loyalty, and regret. Richard Harkin, played by Rob Donohoe, anchors the household with a mix of sharp humor and quiet vulnerability. His brother Sharky, portrayed by Declan Mooney, carries the weight of a troubled past, and McPherson gradually reveals the stakes of his personal reckoning with careful restraint. The supporting characters, including Ivan, Nicky, and the enigmatic Mr. Lockhart, played by Sheffield Chastain, Michael Mellamphy, and Rod Brogan respectively, each bring their own textures to the story, oscillating between coarse camaraderie and moments of unexpected tenderness. McPherson’s dialogue, rich with Irish idiom and cadence, allows these men to feel full and flawed.

Opening weekend carried an added sense of occasion with the attendance of Sarah Kavanagh, the Consul General of Ireland in Miami. Her presence underscored the cultural specificity of the work and its roots in Irish storytelling traditions, which Palm Beach Dramaworks clearly aims to honor. The production demonstrates a respect for McPherson’s language and tonal balance, allowing humor and menace to coexist without tipping too far in either direction.

That said, the primary criticism of this production lies not with the play itself but with a technical choice that significantly affected my experience. Palm Beach Dramaworks’ decision not to use proper microphones proved challenging, particularly for those seated farther back in the house, like myself. From the second-to-last row, much of the dialogue was difficult to hear. Given the heavy Irish accents integral to the play’s authenticity, the diminished sound clarity resulted in moments where speech became unintelligible. While the actors’ performances appeared committed and nuanced, the inability to consistently hear them undermined the emotional and narrative impact of several key scenes. In a text so dependent on language, rhythm, and subtle shifts in tone, audibility is not a luxury but a necessity.

Despite this drawback, “The Seafarer” remains a compelling production, especially for audiences seated closer to the stage. McPherson’s exploration of guilt, fate, and redemption resonates strongly, and Palm Beach Dramaworks’ attention to atmosphere and character helps sustain the play’s quiet power. “The Seafarer” runs through December 28. Following this production, the company will present “Driving Miss Daisy,” featuring a special guest appearance by Debra Jo Rupp.