The Hard Man

One of the most clichéd statements in the English language is that truth is stranger than fiction. Interestingly, what The Hard Man offers is fictionalised truth.

Co-written by Tom McGrath and Jimmy Boyle, the play is a dramatic account of Boyle’s exploits in the Glaswegian crime scene and subsequent imprisonment.

Whether any of the events are true or not is almost a moot point: the play is much more interested in posing questions than in supplying answers.

Act one follows the rise and fall of Johnny Byrne. His ascent in crime is presented vaudeville-like, with a few actors playing multiple ‘larger than life’ roles, and clever staging that is almost always entertaining. Act two walks a much harsher path, following Byrne’s incarceration and the demeaning penal system of which he becomes a part.

With such an ambitious production, one could have been forgiving had director Phillip Breen managed to drop a few balls. Instead, he has created a riveting production that is almost flawless in its execution. For a play that is set firmly in the past, the action consistently feels modern and relevant. It is well designed, skilfully staged and contains brilliant performances from the ensemble.

However, for such a production it is vital that the right performer be cast as the lead, and it is here that Breen plays his ace. Alex Ferns is able to play the comedy and drama with equal weight, and he pulls off the near-impossible task of making a revolting animal into a tragic hero. His depiction of Byrne is enthralling from the start, and his performance lingers long past the curtain call.

There are many reasons why the current production of The Hard Man could have failed, but instead what has emerged is without question one of the year’s best productions. Exhilarating, chilling and thought-provoking, this should not be missed.