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Small wonder then that the title character, Billy (a reflective Ishai Buchbinder), <br /> wants out. A misfit physically, intellectually and emotionally among such grim <br /> company, he seizes on a chance for a life beyond this archipelago when a <br /> foreign film crew arrives on a neighboring island to make the real-life 1934 <br /> epic Man ofAran. <br /> Though there were laughs aplenty to go with the sudden, inescapable twists <br /> present in any McDonagh tale, several things kept distracting us on opening <br /> night. Miyuki Su's too-primitive set design seemingly rendered Kate and <br /> Eileen's store from an episode of The Flintstones. Eric Swenson's Bobby was <br /> under-defined as the village tough guy, while Rahn, whose work as a child <br /> actor /NDVcritics have followed in recent years, may well be too young, in life <br /> and professional development, for the major supporting role of Helen. These <br /> elements may change as this show develops. <br /> Composer Curtis Eller's banjo-based haiku provided a tasteful counterpoint to <br /> the various scenes and blackouts, and jenny Wales' dialects gave the production <br /> a similarly musical lift. Book a trip to Inishmaan, if you can. And then be glad <br /> that you don't have to live there. <br /> This article appeared in print with the head line "Comedy in shades of dark and <br /> light. " <br />