Review: Men’s Business, Finborough Theatre 

Dublin’s Glass Mask Theatre brings Men’s Business, Simon Stephens’ new translation of Franz Xaver Kroetz’ 1972 play Männersache, to Finborough Theatre. It tells the story of Charlie (Lauren Farrell) and Victor (Rex Ryan) who fall in love; a strange, strange kind of love, in the back of a butcher’s shop. This is a relentless and austere vision of two deeply flawed people trapped in an excruciating world. 

The company has clearly chosen to present an uncompromising vision here. Everything has a very deliberate intent, from loud punk music and flashing lights (designed by Jess F. Kane) to having Charlie and Victor dress and undress in mundane and unexciting ways over and over. It reinforces the awkwardness and utter lack of passion in their lives, in their relationship. This deliberate calculated, slow pacing, under Ross Gaynor’s assured direction, offers no respite for the audience, forcing us to sit with the discomfort of the characters’ dysfunctional relationship. 

Farrell and Ryan both deliver superb performances in roles that could easily become unbearable in lesser hands. Victor exudes a suffocating need for dominance, his grim and angry facade hiding any hint of vulnerability or fear – or indeed any emotion. This character is a heightened portrayal of toxic masculinity and insecurity, incapable of allowing himself to show anything other than control and dominance. Charlie, on the other hand, is desperate for affection, clinging to any form of love she can grasp, despite the cost to herself. She totally submits to Victor’s control, even as he degrades her. 

Neither is given much more characterisation or depth, with little background provided beyond the barest details: Charlie owns the butcher’s shop and Victor is a steelworker who goes on the dole during the quieter winter months. This minimalism keeps the focus entirely on their relationship (such as it is), with no easy explanation as to how they ended up like this or even got together initially. It builds on an oppressive atmosphere where every moment feels off, feels uncomfortable – loaded with tension and an expectation that an eruption will occur. 

The play’s sex scenes are particularly striking: awkward, mechanical, and deeply unsettling. They are totally devoid of intimacy, with Victor frequently making intense eye contact with the audience and really building on the discomfort and awkwardness. 

There is just the briefest respite from the gloom with the third cast member, Cooper, who is described in the programme as “a big bastard of a dog” but is clearly the goodest boy, thrilled to be on stage and enjoying the presence of the audience. Rather than offering comfort, Cooper’s bond with Charlie becomes a source of blistering resentment for Victor. His jealousy of the dog is almost primal, revealing even more the depth of his insecurity and desperation for control. 

Men’s Business doesn’t provide easy answers or moments of relief. It’s a stark, unsettling piece that stays with you long after the final scene. Even an hour after leaving, we were still deep in conversation, trying to unpack it. This isn’t a play designed for light entertainment – it challenges, provokes, and lingers in the mind. It may not be pleasant, but it is undeniably compelling. And it won’t be for everyone: there will be people who walk out hating it. But I’ll bet there will be people walking out thinking this is one of the most impressive pieces of theatre they’ve seen. Either way, huge credit to Glass Mask Theatre as this production unquestionably and uncompromisingly realises their artistic vision. The final response? That’s left entirely to the audience. 

Written by Franz Xaver Kroetz
Translation by Simon Stephens
Directed by: Ross Gaynor
Design by: Andrew Clancy
Lighting Design by: Jess F. Kane
Produced by: Glass Mask Theatre in association with Neil McPherson for the Finborough Theatre

Men’s Business plays at Finborough Theatre until Saturday 12 April.