Overview
Synopsis
Presented in four monologues by three characters, Brian Friel's Faith Healer is the story of Frank, a traveling showman who also occasionally heals people; his bitter, angry, but still loving wife; and his once-plucky, now-tired manager, who has given up his career to promote Frank. Traveling through remote and isolated areas in Scotland and Wales, Frank offers his unique cure to the most desperate and hopeless of people. Does he actually possess a gift? Or are these rare and miracle healings simply tricks of the mind? Each monologue sheds more light on events that lead to tragedy, although the characters' memories conflict with each other.
Faith Healer is an Irish meditation on the role and responsibility of the artist in society, as well as an exploration of the meanings of healing and salvation.
Show Information
Context
Faith Healer first opened in Boston in February 1979 and starred James Mason as Frank, alongside Clarissa Kaye and Donal Donnelly. The production was directed by José Quintero and transferred to Broadway at the Longacre Theatre in April 1979, where it played 20 performances.
The first production in Ireland was at the Abbey Theatre in August 1980, starring Donal McCann, Kate Flynn and John Kavanagh. In March 1981, the play opened at the Royal Court Theatre in London, directed by Christopher
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Frank
Frank appears on an abandoned stage in front of a large poster that reads: “The Fantastic Francis Hardy. Faith Healer. One Night Only." He speaks to the audience but it slowly becomes clear throughout his first monologue that we should not trust the authenticity of his words. He begins by talking about the art of faith healing: “A craft without an apprenticeship, a ministry without responsibility, a vocation without a ministry”. He then begins to describe his manager Teddy,
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| Name | Part Size | Gender | Vocal Part |
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Lead |
Male |
Non-singer |
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Lead |
Male |
Non-singer |
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Lead |
Female |
Non-singer |
Songs
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
Monologues
Scenes
Key Terms
The Abbey Theatre is Ireland’s national theatre, founded in Dublin in 1904 by W.B. Yeats and Lady Augusta Gregory. It became a central hub for Irish cultural identity and the Irish Literary Revival. The theatre continues to promote new Irish plays and dramatists
The imaginary wall separating the audience from the actors onstage, often 'broken' for direct address. This term plays a vital role in understanding theatrical structure and is commonly encountered in stagecraft or performance settings.
A literary device where the intended meaning differs from the literal meaning, often creating contrast or humor. Irony is used in theatre to provoke thought or elicit reactions from the audience by highlighting contradictions in character behavior or plot outcomes.
An extended speech delivered by a single character, either to another character or the audience. Monologues are used for character development and to reveal inner thoughts.
A recurring element, such as a symbol, image, or phrase, that reinforces a play’s themes. Motifs help unify the structure of a work and deepen its symbolic meaning.
A short play presented in a single act without intermission, ideal for festivals, student productions, or concise storytelling.
An object, character, or element used in a play to represent a deeper meaning or theme beyond its literal definition.
A Tragedy is a form of drama that explores human suffering, conflict, and loss, often leading to a disastrous or fatal conclusion. Traditionally, the main character experiences downfall due to a personal flaw, poor judgment, or forces beyond their control. Tragedy aims to evoke pity and fear in the audience, leading to reflection and emotional release. Categories: Dramatic Genre, Greek Theatre, Themes
Videos
Quizzes
Themes, Symbols & Motifs
THEMES
Subjectivity of Truth and Memory
In
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Guide Written By:
Alexandra Appleton
Writer, editor and theatre researcher