"God is a townie, too" says the "honest rustic," John Bosco McLane, the farmer of the title, who fears the competition of "townies and city slickers" in his desperate search for female companionship. Using a local matchmaker, or in sorties to pubs and dance halls, the search is all consuming and ever ongoing. Set in 1950s "holy Ireland," this one-man entertainment is based on the writings of popular Irish author John B. Keane, and has been adapted by Des Keogh, who also plays the self-titled "crusty bachelor." His is a series of misadventures with women both predatory and shy, always seeking "the great fulfillment," which remains consistently out of reach. Frustrated, he considers holy orders, but the parish priest labels him a "chastitute" and dispenses wisdom on the religious life. And a trip to the Dublin Spring Show soon has him in hot pursuit again.
Despite Keane's charming turn of phrase and Keogh being a consummate performer, the adventures do become repetitious and, at some point, not quite convincing. Hanging over these ever-so-naughty escapades is the taint of manufacture--a definite whiff of the "professional Irishman." This smacks of being an exercise in enhanced nostalgia to be served up to audiences who seem starved for this brand of entertainment. (And at the performance attended, lap it up they did, with laughter and contented murmurs.) Perhaps the remarkable new school of younger Irish playwrights has made us too aware of Ireland's darker shadows--now the quaint doesn't look quite so authentic. Oddly, it's the few serious aspects only glimpsed here that are surprisingly appealing, adding a much-needed grounding.
Keogh creates McLane and others with easy skill--his wise priest is particularly memorable. With Charlotte Moore's direction and Sean Farrell's subtle lighting, all here is nicely professional. For those who like this kind of entertainment, "The Love-Hungry Farmer" is just the entertainment to really like.