THEATER REVIEW:

The outstanding troupe of Theatre Banshee in Burbank normally serves up lyrical, humorous or wistful Irish plays.

The latest production, “Loyal Women” by modern Belfast playwright Gary Mitchell, is a dramatic and welcome departure.

The characters in “Loyal Women” are tough people with hard shells and caustic words. But life has been hard on them in this working-class Protestant neighborhood.

Their underground paramilitary world is a far cry from yours and mine, most likely. Yet the actors and their director, Sean Branney, create a world that is thoroughly engaging from beginning to end.

The play revolves around Brenda (Rebecca Marcotte), a woman overwhelmed by her fierce sense of responsibility. She single-handedly looks after her rebellious teenage daughter (realistically portrayed by Amanda Delbert), her daughter’s constantly crying baby, her bed-ridden and somewhat senile mother-in-law (a convincing Rebecca Wackler), her handyman boyfriend (Barry Lynch) and even her cheating husband (Dan Conroy).

On top of all this, Brenda’s got a little sideline gig.

She holds meetings of the UDA (Ulster Defense Assn.) at her house, a kind of deadly coffee klatch. The association is an actual paramilitary organization that sprang up in response to the IRA (Irish Republican Army), whose purpose was to defend the rights of Catholics living in Northern Ireland. The association protects the Protestant communities in a similar way, by operating outside the law.

Playwright Gary Mitchell does not condone this vigilante behavior.

Instead, he seeks to show how painful and destructive it is to be involved in groups of this kind. In fact, one of the interesting aspects of this play is that viewers can find no one to sympathize with.

There is pity for Brenda’s circumstances but she and her colleagues, Gail, Heather and Maureen, are prone to violence, cruelty and bigotry.

All the actors are outstanding but these four women are amazing.

Gail (Josie DiVincenzo) is one tough cookie with a severe hairstyle, tight jeans and a chest-jutting stance that begs for a fight. Heather (McKerrin Kelly) is all muscle and sinew, jumping around just itching to “do someone.” And Maureen (Casey Kramer) struts around like a “Sopranos” mob boss with a cool command of the girls. After softly letting Brenda know she will do as she’s told, Maureen silently adjusts her lapel pin. Classic understated power.

The lighting design by Mary O’Sullivan stands out for its complexity and smooth choreography. The set is authentic in its thrift-store chic. At the performance I attended, the actors’ zealous physicality created some problems on the set (e.g., broken door, broken couch) but I only bring it up to point out just how professional the actors are. They worked it all into the script.

And in a way, due to the characters’ violent natures, these sort of things would happen. So kudos to the fight choreographer, Brian Danner. Kudos also to the dialect coach at the Banshee. The actors’ Northern Irish accents are spot on and their lines are delivered at machine-gun-fire pace.

If you’re looking for a light-hearted Irish romp, this may not be the production for you. But for an intense account of daily life in a certain modern-day Belfast neighborhood, one that is well-written, acted and directed, check out “Loyal Women.”

 LISA DUPUY is a freelance writer from La Crescenta who formerly worked on KCET’s “Storytime.” She was once questioned at gunpoint in Belfast but quickly released.  LISA DUPUY is a freelance writer from La Crescenta who formerly worked on KCET’s “Storytime.” She was once questioned at gunpoint in Belfast but quickly released.