Joey Collins Photo by David Dashiell

Time and place for the presentation are not specified but one may guess that this one hour and forty-five minute work occurs, perhaps, during the 1980s/'90s within the confines of an Irish pub in a rural location. Scenic designer Randall Parsons provides lots of wood, including flooring, chairs, and so on. The TV and refrigerator are old and tired looking. Every so often, we hear the wind whistling about. If it's frigid outside, that is not the case at the counter, as barkeep Brendan (Philip Themio Stoddard) greets men he well knows. Jack (Sean Bridgers) runs a nearby garage and Jim (Joey Collins) is his assistant. Swanky looking Finbar (Harry Smith), who has some money through business, comes along after a while and brings with him an attractive young woman, a newcomer named Valerie (Stephanie Jean Lane). This event is well noticed among the other three men already on the scene, as they know Finbar is a married man.

Each individual has a story to expound upon and the men physically enact various characters within each vignette. The tales are catchy yet non-memorable, but that's not the point. Valerie, too, spins a yarn after the men have finished. We find that she has left Dublin and more. She, by the way, drinks white wine as opposed to the liquor everyone else is consuming. Brendan goes back into his house, which is attached to the pub, to fetch the wine since it is probably the first time anyone has requested it.

Throughout the course of the evening, everyone finds out that Jack has bet on a winning horse, that Finbar is now doing well selling real estate, that Jimmy's mother is not well, that Valerie has dealt with tragedy. The drinking and the banter continue and theatregoers watch as these actors provide their own observations of people in the village. There isn't a dramatic rise in tension (although Valerie becomes a bit unsettled). That said, this theatre piece is absolutely enveloping.

The atmosphere seems to permeate the Unicorn, where every seat is fairly or extremely (depending upon location) close to the stage. Amy Avila's costumes include varieties of sweaters, but Finbar, the fiscal success, wears a cream colored suit, a perfect choice. Lighting designer Matthew E. Adelson's hues are fittingly drab.

The actors are absolutely splendid as an ensemble and individually. Joey Collins, playing Jimmy, utilizes gesture, jerky-jerky movement and facial expression with maximum effect and efficiency. Collins has appeared on and off Broadway, at many regional theaters including Berkshire Theatre Group many times, and on national tours. He is spirited, precise, and even a bit comical in his current role. Thanks to Jennifer Scapetis, resident dialect coach, the performers evidence Irish accents, true and decipherable, and the actors deliver their words with clarity.

Conor McPherson was in his mid-twenties when he wrote this play, which received an Olivier Award in its first production at The Royal Court Theatre Upstairs in London. He is a gifted dialogue writer who has many more stage and screen credits, winning multiple prizes for his dexterity.

Most importantly, this is an Eric Hill production. An accomplished, formidable actor, he brings his training and performance selves to every show he directs. His work includes cerebral interpretation of script and then consummate attention to detail. Thus, as The Weir evolves, little or nothing (tough to say which) is left to chance. One could argue that, on the surface, notably a whole lot is happening, but that is a simplistic take. Instead, these people are deeply affected and theirs is a struggle to find meaning. Director Hill has taken McPherson's precise dialogue and inspired a core of exemplary actors to thereby inspire us.

The Weir runs through October 27, 2024m at Berkshire Theater Group, Unicorn Theatre, 6 East St., Stockbridge MA. For tickets and information, please call 413-997-4444 or visit www.BerkshireTheatreGroup.org.