There's a slant to the door in Bob Crowley's set for The Cripple of Inishmaan, Martin McDonagh's play at the Royal National's Lyttelton Theatre, that might suggest rustic simplicity or rustic imprecision or perhaps the way in which even the most robust structures can shift and settle with time. It's not that the door doesn't work perfectly well, opening and closing to let in and out characters like Johnnypateenmike, the village gossip, and Billy Claven, the eponymous hero, who wants Babbybobby the ferryman to sail him over to the next island where the great Hollywood director Robert Flaherty's documentary Man of...
To continue reading:
or
Log-In
