Theater Review: Cape Rep’s ‘Trad’ A Hilarious Irish Comedy

What a gift it would be to be friends with one of your parents late in your life. 

In Cape Rep’s newest production, “Trad,” billed as a hilarious Irish comedy, aptly written by Mark Doherty, a comedian turned playwright, Thomas has just that privilege, though he might not think of it as that special all the time. Thomas and his “Da” have been together for a long time. They finish each other's sentences and work around each other’s physical disabilities: Da is missing a leg and Thomas an arm. 

When Da says to Thomas, “One hundred is a good even number,” you realize, Thomas is one hundred years old, so amazingly one has to assume his father is at least 20 years older than him. They bicker and spar frequently, often dwelling upon tradition or “Trad.” 

The day that the play takes place, they’re talking about their family line. Da berates Thomas for failing to father a son and bemoans the end of the family line. It’s like “a bar with no booze.” Thomas then confesses that he did indeed father a child about 70 years ago in a night of passion with a girl named Mary, “a strumpet with a powerful stare.” On hearing the news the seemingly bed-ridden Da comically struggles out of bed on his one good leg to embark on a journey to find the grandson he’s never known. Thomas has no choice but to join him. The adventure begins! 

Macklin Devine throws himself into the role of Thomas, and Seaton Brown’s portrayal of Da is top notch. The two are in perfect sync. The physicality of their journey is not hampered by their missing limbs. These two engage in tumbles, pratfalls and more as they stumble around the village looking for clues to the boy they never knew. They run into a woman in a cemetery and a priest (both played by the always expressive Ian Hamilton) as they compile clues of what happened to Thomas’s son.

Devine’s facial expressions as he topples over or engages in inane conversation with his father are hilarious. Brown is the perfect sidekick. Their Irish brogue and warped sensibility just adds to the enjoyment of watching and listening to these two. Director Alison Weller couldn’t have reined them in if she tried, so she seemed to just let them go, and go they do. 

James P. Byrne’s simple set and clever lighting design helps the story develop. The fiddle playing of Jonathan Ford (from original music by Jim Doherty) sets the tone before the show and adds musical punchlines throughout the play. Nicely done. Costume designer Robin McLaughlin and stage manager Holly Erin McCarthy complete the tableau. 

This hysterically funny play is performed in the intimate setting of the Crosby Barn, where you can grab a Guinness and belly up to a “bar” to watch it. It’s about 90 minutes or so without an intermission. You’ll enjoy every minute!