In association with officialkeithduffy.com
In association with
2014 (30th April - 24th May then 24th June - 25th July)
Theatre503, Battersea & Trafalgar Studio 2
Written by Billy Roche in 1988 as part of the Wexford Trilogy and now revived by director Paul Robinson, the play depicts a truthful portrait of tormented youngsters stuck in small town Irish life.
This hard-hitting play shows how the process of self-annihilation can be triggered when a person feels as if they are unable to escape thier circumstances.
Jimmy and Tony are stuck between their ambition to succeed and their resentment for the more accomplished men of their town. What they crave more that anything is access to the private members' club of their local snooker hall, all the while despising the people who are already in it - corrupt older men who seem to get away with a lot of things that
The only man they look up to is bad-boy Stapler, a retired boxer who refuses to answer to anybody. Will their admiration for the volatile ex-pugilist catalyze an inevitable path to self-destruction?
The success of a sell-out run at Theatre503 in Battersea meant it was transferred to Trafalgar Studios giving Keith the opportunity to make his West-End debut.
Brian Fenton, Colm Gormley, Maureen O’Connell, Michael O’Connor, Michael O’Hagan, Ciaran Owens
Poster Image © Flavia Fraser-Cannon
Production shots © Richard Davenport | Marilyn Kingwill
"Keith Duffy, impresses as fading boxer Stapler. It's a thoughtfully understated performance"
- Evening Standard
"Keith Duffy; as thirty-something rough-and-ready boxer Stapler, he delivers a commendably understated performance that will likely ensure his foray into theatre won’t end here."
- A Younger Theatre
"Duffy’s London stage debut is a strong one, amid a good cast. The part comes into its own in the second half and he has convincing intensity as he tries to reason with the
- Time Out
"Keith Duffy creates a downtrodden hard man whose heart is actually in the right place."
- British Theatre Guide
"He convinces physically, burly of frame, and it’s a nicely understated turn, fitting into the ensemble without any elbowing."
- The Telegraph