Domhnall Gleeson Feels the Crack in the Air


Tell me about you and Enda Walsh’s games. What is it about them?

I didn’t really understand or get my full dose of Enda until I saw “The Walworth Farce.” The one I saw in a small room in Galway. It blew my head in a whole new way. Shocked for my core.

It’s a father and his two sons and he forces them to do this antics every day. And what we’re watching is a day when the bullshit breaks down. They’ve been doing this for 15 years, 20 years, this is bullshit and this other person comes in and things go off the rails. I went, I shook it, I really shook it. I laughed a lot, but I never really cried—just like I’d cried completely twice.

Haven’t you ever cried completely in a theater before?

No. Maybe I burst into tears, but not like this. It’s not the tears and mouth sores that flow while you’re still engaged. And I said, I don’t know what that is. Enda makes me react in a way I don’t understand and I love that side of her.

When people ask what “Medicine” is about, what do you tell them?

It’s partly a game about how we treat people we define as mentally ill. And the role of empathy in that, and the role of medicine in that, the good and the bad, and the importance of care, you know, and love. I think that’s the gist of it. But it certainly doesn’t let you know that in advance.

I mean, the lobster suit is a distraction.

[Laughs] Yes I know.

Your character, John, dreams of becoming invisible. Can you go out and be an ordinary person around here, anonymous on the street?

There are days when you feel much more anonymous, in a nice way. I live close to the theater so just seeing the skyline and feeling New York and all the rest is great. Being able to walk around and feel lost in the texture of it wonderful. I love he. It makes me feel very young and reminds me of when I was 22 and back here. I love inhaling that energy and the cold air. And then other days you feel a little like “Oh no” maybe you’re conscious that people know you.



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