Brendan Gleeson earns universal praise in The Weir as he makes a 70-year West End debut

Brendan Gleeson has earned universal praise for delivering a pitch-perfect performance in a new West End revival of Conor McPherson’s The Weir, the veteran Irish star making his West End debut at age 70. The production, staged at the Harold Pinter Theatre, reassembles five characters whose hazy reminiscences drift through a County Leitrim pub as drinks flow and local folklore swirls around them. Although the play has a long history, dating back to its 1997 premiere at London’s Royal Court Theatre, Gleeson’s appearance marks a notable first: his arrival on the West End stage after decades in film and television.

Gleeson’s Jack, a nostalgic car mechanic and garage owner, anchors a naturalistic, moody ensemble designed by Rae Smith that invites audiences to lean into a night of story-swapping and eerie, almost folkloric humor. The cast also features Kate Phillips, Owen McDonnell, Tom Vaughan-Lawlor, and Seán McGinley, all of whom contribute to a sense of shared history and intimate danger that McPherson’s writing sustains throughout the evening. The production opened on September 12 and is scheduled to run through December, bringing a long-running, beloved piece back to life with a new leading presence.

The critical response has emphasized Gleeson’s ability to inhabit a part written for someone younger, something many observers argued he handles with remarkable poise. The Telegraph’s five-star verdict highlighted Gleeson as the “craggy-faced poster-boy” of McPherson’s atmospheric revival, while noting that Gleeson’s age adds a particular resonance to Jack’s memory-soaked, Krapp-like recollections of romance and missed chances. The reviewer described Gleeson as a natural for the play’s lilting rhythms and murky mood, while underscoring that the evening belongs to an ensemble whose chemistry keeps the storytelling buoyant and human rather than melodramatic.

The Guardian likewise stressed the ensemble nature of The Weir, arguing that while Gleeson commands the spotlight, the play’s strength comes from its five-strong cast who speak to one another across frequencies, revealing character through shared histories and quieter, more intimate revelations. The Independent joined in praising Gleeson’s performance as a standout in a cast described as “garlanded” for the production’s overall quality, noting his worn-in gravitas as the driver of this bar-room world and the stories that steer it. London Theatre echoed that assessment, calling Gleeson’s Jack a performer who leads a pitch-perfect group in delivering McPherson’s naturalistic drama about an insular rural Irish community.

For Gleeson, the West End bow also marks a personal milestone after a long film-and-TV career that had kept him from regular stage work for years. He has spoken publicly about balancing a demanding screen schedule with theatre, citing the appeal and the challenge of live performance. In reflecting on his decision to take on The Weir for a prolonged engagement, he told The Times that theatre is hard but worth it, and that the opportunity to perform through December represented a significant commitment that he embraced despite the fatigue that comes with a long run.

Delineating the production’s tone, Sarah Crompton of WhatsOnStage described The Weir as both naturalistic and numinous, praising the current cast for reviving the play’s early, almost magical sense of storytelling in a rural bar setting that remains intimate yet otherworldly. The Times and other outlets noted Gleeson’s ability to sell a performance that sits between sharp-witted tavern humor and poignant, lingering sadness, a dynamic that McPherson’s script requires from its central figure and his companions.

The Weir’s design is also a key element of the revival’s warmth and immediacy. Rae Smith’s set creates a cosy, bottle-lit pub environment that functions as a character in its own right, anchoring the conversations and the sudden shifts in mood as each man’s memory unfurls. The production’s pacing—tight, at roughly 100 minutes without an intermission—contributes to a sense of momentum that keeps the stories moving while never rushing the emotional discoveries at the heart of the play.

Owen McDonnell’s presence in promotional imagery accompanies Gleeson’s arrival as part of the ensemble, and the show’s marketing has emphasized the cast’s cohesion as well as Gleeson’s stature within both Irish theatre and international cinema. Critics have repeatedly noted that while Gleeson’s name draws attention, The Weir remains an ensemble piece that tests each performer’s ability to ride McPherson’s lyrical dialogue, which alternates between rough humor and haunting recollection.

The West End debut of The Weir at the Harold Pinter Theatre signals a significant moment for Gleeson’s career and for McPherson’s work in recent years. The play’s enduring appeal—its blend of warmth, fear, and folklore—continues to resonate with audiences who value intimate, character-driven drama as a counterpoint to grander productions. As Gleeson and his co-stars bring new textures to this well-traveled script, critics and audiences alike are reminded why The Weir has endured for decades and why its latest revival is being lauded as a milestone in Gleeson’s storied career.