An intriguing blend of spirit, wit at a real bar

LOWELL -- A play set in an Irish-American bar that's performed in an Irish-American bar -- isn't that getting a bit meta? Lowell's fledgling Image Theater company seeks out unconventional venues in which to present new work, and for James McLindon's "Distant Music" -- a drama that reunites a disillusioned lawyer with the woman he wishes he'd married -- director Jerry Bisantz came up with a perfect location, Lowell's Old Court tavern. He also pulled off a casting coup in the person of Jonathan Popp, who's so convincing as young Irish barkeep Dev Hart, I assumed he'd been plucked from the pub staff.

Wrong: Popp is no bartender and not even Irish-born. North Shore bred, he is 100 percent actor, and his antic presence -- Dev is perhaps over endowed with the gift of gab -- fuels every minute of this fascinating character study. Whether he's reciting Joyce, telling off-color jokes, injecting odd factoids gleaned from the academic types who frequent this Cambridge watering hole, or recycling tales from the old country, Dev is a life force to be reckoned with.

No wonder law professor Connor Curtin (the urbane Phil Thompson, who's becoming a familiar face on the fringe-theater circuit) is a regular. He may have lost all faith in the ameliorative potential of his chosen field and the Catholic religion he was raised on, but who could resist a bit of friendly debate on such subjects with this quick-witted fellow?

Dev is delighted to learn that on this especially slow night, a snow-bound winter's eve, Connor plans to have company, a woman. Dev assumes romantic potential, but Connor (in recovery from his latest breakup) regretfully knows better: Maeve Moore (Sally Nutt), whom he has loved since college, has a prior commitment and in fact -- Catholic spoiler alert! -- a prior "bridegroom," a fact of which Dev is unaware until after he's regaled the pair with a joke about a "nearsighted Kerryman midget" seeking companionship in Antarctica.

Each character is facing a major life decision: Connor is considering an offer of a federal judgeship, Maeve an act of socially conscious rebellion that might get her excommunicated, and Dev the prospect of moving back home to Ireland. And , of course, Connor does have designs on Maeve, a feeling with which she may resonate.

The pity is, when Dev's not present (he wanders off on some sham errands to afford the two some privacy, though he's an avid eavesdropper), dramatic tension fizzles. Perhaps it's lack of chemistry. Nutt is a bit too wan and proper: You can't help imagining a Colleen Dewhurst in the role. Or maybe it's just a matter of Dev withdrawal.

Author McLindon is a onetime Harvard Law Review editor who gave up his practice for playwriting -- a smart choice, in his case. It's a treat to see such a sharp mind at work. If you think the lapsed Catholic lode has been mined out, think again. And wait till you hear Dev hold forth on the Irish Americans who flock to the Auld Sod, seeking their roots and "asking if anyone knew your Grandda, who was last in the village in 1891."

"Stay home!" is his advice, essentially, though he has plenty of less polite comments to add. But don't stay home and miss this intriguing new play.