Reviewed by Steven Maisonet

The American Repertory Theater of WNY is proud to present a stage adaptation of Irish proletariat writer Liam O’Flaherty’s The Informer in the 2024-25 season. The adaptation was written by Artie Award-winning playwright Matthew LaChiusa.

Gypo Nolan, a man who has been kicked out of the Dublin police force and removed from duties within the local battalion of the Irish Revolutionary Movement, is down on his luck. He’s broke, forced to take work at the docks, resorting to the occasional mugging of an American sailor on leave, and has reached a desperate moment in his life. Every person has a breaking point, and each lives with either sin or grace, depending on how they choose to respond.

Liam O’Flaherty’s compelling novel from the 1920s comes to life in this theatrical adaptation, written by award-winning playwright Matthew LaChiusa.

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The Informer, a self-titled adaptation of Liam O’Flaherty’s novel, was brought to life by the multifaceted and award-winning playwright Matthew LaChiusa. This Irish contemporary piece, set in the Irish Revolutionary Movement era of 1920s Dublin, offers an authentic insight into the Irish-American homage to the motherland and Ireland’s history. It serves as an appropriate celebration for those seeking to honor St. Patrick’s Day in a different light. LaChiusa, who masterfully captured the authenticity of what could be called a replica of an Irish public house (now archaically known as an “Irish Pub”), brought this production to life through his amplification of skills as both the playwright and director, as well as the set and lighting designer.

Speaking of his directorial skills, LaChiusa’s The Informer assembled an impressive group of actors. These cairdeas actors, who shared the stage with LaChiusa’s vision, brought the novel’s original protagonists and antagonists to life in this stage adaptation. The characters delivered expertly crafted performances, showcasing both compassion for their craft and empathy for their roles—choices undoubtedly guided by LaChiusa and his team. In the spirit of an authentic 1920s Dublin scene, a dialect coach was employed to ensure consistency. Catherine Burkhart, who doubled as the production’s dialect coach and an actor (playing Kitty Dunbar), skillfully enhanced the show.

On a final note regarding dialect, the show did lose some moments during scenes where the focus on dialect wavered, and accents were inconsistent. However, despite this minor issue, the actors’ commitment to embodying their characters made this forgivable, and it is something that can happen in live theater.

Before the show begins, we are introduced to the immersive Mary Hynes (the beggar woman), played by Alicia Adema, who is seen sketching in her book of drawings, perhaps giving us a clue as to who the informer might be. In later scenes, she plays a nuisance character who pesters the inconspicuously sanguine Gypo Nolan, an ex-police officer who often frequents the Irish pub. In both aspects, Adema delivers a cleverly witty character that captures the audience’s attention.

Gypo Nolan, played by Trevor Dugan, delivers a remarkable and skillful interpretation of this novel character. Dugan, with a contemporary theatrical background, debuts his charismatic acting style in this role, portraying Nolan in various states of inebriation, possibly due to a guilty conscience, while wrestling with his personal discontent over decisions that increasingly favored a money-hungry mindset over loyalty to his country and comrades. Dugan skillfully embodies the charming, bubbly side of the Irish personality, which is a hallmark of authentic Irish repertory productions.

Mary McPhillip, Frankie McPhillip’s sister, is played by Julie Gygier, another actor who thoroughly embedded herself in her character. Gygier’s transformational acting allowed her to fully embody her role, demonstrating sweetness, care, and resilience for the well-being of her estranged lover, Dan Gallagher. Gygier’s work in this role was unrecognizable from her previous roles in local productions, capturing moments of awe and sympathy from the audience, especially during her poignant romance with Dan Gallagher (played by Anthony J. Grande). Recently seen as Briggs in The Mighty Maisie, Grande delivered a contrasting character in his portrayal of Dan Gallagher, a man fixated on bringing justice for Frankie McPhillip. Although Grande was occasionally inconsistent with his dialect, subtly switching between accents, he excelled in other aspects of his character, embodying machismo and determination.

Grande’s performance ignited the charge of the production, as he portrayed Dan Gallagher, the commandant of the Revolutionary Organization, obsessed with exacting justice. He brought the story’s themes of romance, justice, revolution, and heated violence to life, demonstrating his versatile acting skills both on stage and, from what I assume, through his video production company, 2NY Video, which promotes actors in WNY and Central NY—a testament to his ability to recognize talent.

Another notable actor, Catherine Burkhart (Kitty Dunbar), maintained this writer’s admiration through her genuine Dublin dialect. While some actors may have missed the mark, Burkhart filled the gap, helping certain audience members overlook this minor flaw. Burkhart excelled in this role, leaving the audience wanting more of her stage appearances. Additionally, frequent patrons of the pub, such as Katie Fox (played by Dannette Pawlowski), the seductive lady in red, delivered a memorable performance. Pawlowski, who has been involved in improvisational theater (e.g., ComedySportz Buffalo) and other First Look Buffalo Productions, skillfully embodied this character. Despite a slight dialect mishap in the first act, Pawlowski found her footing in Act II, delivering a crafted performance as the promiscuous and overlooked love interest of Nolan, who found herself quivering for her life after being interrogated by Gallagher at gunpoint while holding firm in her admiration and affection for Dugan’s character, Nolan. Composure and fear—two emotions often not interchangeable—were brilliantly conveyed through Pawlowski’s performance.

Honorable mentions go to the stage actors: Jack McPhillips (Mary and Frankie’s father), played by John F. Kennedy, who captured the grieving father role in his distraught scene with Gygier’s character, Mary. Kennedy truly owned the stage in his attempt to assert authority in the family dynamic during a moment of grief and the loss of a child. In camaraderie, both Dan Morris (Bartly Mulholland) and John DellaContrada (Tommy Connor) portrayed tough, brooding figures who assisted in the pursuit of justice by holding the informer accountable and serving as Gallagher’s right-hand men. Their strong performances were exemplified during an impromptu pub kangaroo court scene, where Rattler Mulligan (played by Nate Chateaux) was pulled from his slumber to prove his innocence after being put on trial by the Commandant himself, accused by Nolan’s character. Chateaux, who performed well under the stress of the scene, proved his innocence and carried the moment forward.

To complete the ensemble, actors Katelyn Gard (Judge 1/Ensemble/Katie Fox understudy), Tyler Collis (Ensemble/Curly), Thomas J. Snodgrass VI (Barney Kerrigan/Ensemble), and Scott Gattie (Boxer Lydon/Musician) all contributed to the show’s success, incorporating their talents into each scene. Gard was seen skillfully staying in character as a mysterious revolutionist, while Collis and Snodgrass brought vibrant and radiant energy to the stage. Their performance reached its peak during meticulously placed song breakouts: Act 1 featured Foggy Dew and Silly Drunk, and Act 2 showcased Come Out Ye Black and Tans.

The show was fully crafted by Artie Award-winning Matthew LaChiusa, who also served as the set and lighting designer. LaChiusa’s technical work helped bring authenticity to the 1920s Dublin setting, employing majestic Tiffany-style lighting fixtures to create the pub’s deserved ambiance. However, the stage space at the Compass Performing Arts Center Theater posed a challenge, as shadows from the fixtures sometimes obscured the actors’ faces, particularly those wearing hats. Still, this added to the sense of mystery in the spy-like, murder-mystery atmosphere, giving the show character.

Sheri Sante (Stage Manager) led the stage management, ensuring smooth prop and technical transitions throughout the production. Anthony J. Grande and Matthew LaChiusa choreographed stage combat scenes, making the physical scenes more engaging. The show used onstage prop guns and deployed them safely in the ending scenes. Costume designer Jessica K. Rasp captured the heated nature of the show with her carefully crafted costumes, particularly the attire of the leading ladies. Lastly, head carpenter Jason Stopwinski’s masterful set design ensured the set was an irresistible focal point.

The Informer, an adaptation by Artie Award winner Matthew LaChiusa, is a formidable, top-tier production that brings the ART/WNY season to a close. This show is a must-see and highly recommended, perfect for the Irish celebration during the month of March.

The Informer can be viewed on stage at the Compass Performing Arts Center, 545 Elmwood Ave. The show runs from 3/13/25 to 3/29/25, with performances on Thursday and Friday at 7:30 PM, and Saturdays at 5:00 PM. Tickets can be purchased online at ARTOFWNY.org or in person at the Box Office. A personable experience is always recommended, as the space is eclectic, and the wonderful employees are ready to serve you with a smile.

For thrill-seekers, content warning: R-rated, display of guns (including the discharging of a weapon), use of non-tobacco products on stage, display of violence, use of alcohol, and production warning of haze.

General Tickets: $25 (plus online service fee)
Military & Students: $20 (plus online service fee)
Thursday – Pay What You Can: Suggested Donation – $10 (pay at the door only)