by Tom Murphy
March 23 – May 14, 2006
Victory Gardens Theatre
2257 N. Lincoln Avenue

Michael Carney Coburn Goss*
Harry Carney Dan Waller
Des Carney Jack Briggs
Iggy Carney Mac Brandt
Hugo Carney Eamonn McDonagh
Dada John Kishline*
Betty Sarah Wellington
Mush Robert Kauzlaric
Director Jeff Christian
Scenic Design Susan Kaip
Costume Design Aly Greaves
Lighting Design A. Cameron Zetty
Sound Design Heath Hays
Dialect Design Kirsten D’Aurelio
Stage Manager Kelly McDowell*
*Member of Actor’s Equity Association


From the Chicago Tribune
By Kerry Reid

“…an astoundingly powerful piece of work. Seanachaí Theatre Company’s revival, directed by Jeff Christian, is so explosive it’s a wonder that the walls of the downstairs studio at Victory Gardens are still intact. It’s a tribute to both the raw poetic dynamism of Murphy’s dialogue and the stellar performances of the Seanachaí ensemble that an enduringly humane quality manages to shine through the dim and dingy Coventry home of Michael Carney and his wife, Betty.”

From the Chicago Free Press
By Lawrence Bommer

“Murphy’s potboiler inspires some terrific acting. Jeff Christian’s cast alternately freezes in ferocious tableaux or charges right into the mayhem. [John] Kishline’s foul-tempered, macho patriarch fulminates with speechifying blarney and splenetic bluster. [Coby] Goss’ decent, ineffectual Michael dams himself up with good but wimpy intentions that, of course, perversely lack the energy of his bullying family… But the big kudo goes to [Dan] Waller for his meaner-than-life Harry, a muscular lout of such constipated machismo his bitterness against anyone successful is frightening to behold.”

From the Windy City Times
By Mary Shen Barnidge

“Milwaukee import John Kishline delivers a chillingly underplayed portrayal of the abusive Carney patriarch, ably supported by Dan Waller and Coburn Goss as the sons fighting for leadership, with Sarah Wellington displaying surprising strength as the latter’s beleaguered spouse. “

From the PerformInk ’06 “Year in Review”
By Lawrence Bommer

“Then there were shows so life-like that audiences could feel they were eavesdropping, that the slightest noise might give them away (the you-could-hear-a-pin-drop standard that should be aimed at more often). Seanachaí Theatre’s revival of A Whistle in the Dark was combustibly authentic in its depiction of an Irish family where manly means mean. “