The characters in Conor McPherson’s “The Weir,” currently running at the Irish Repertory Theatre, tell ghost stories and stories of the supernatural to newcomer Valerie (Sarah Street) at the local bar in Northern Ireland owned by Brendan (Johnny Hopkins). Before Valerie’s arrival with Finbar, Jack (Dan Butler), Jim (John Keating), and Brendan chat about the weather, selling Brendan’s bar, and the wondering about the new arrival in the area.  It isn’t long after Finbar introduces that newcomer Valerie that Jack begins to tell “a good little story” about “the fairy road” and Maura Nealon. Soon after, Jim and Finbar share their own stories of the supernatural which range from the curious to the macabre. The tone shifts dramatically when Valerie – whose expression continues to foreshadow discomfort – tells her story about the loss of her daughter Niamh.

The motivation for telling these ghost stories in “The Weir” is many-sided. The tales serve as a form of camaraderie, allowing the characters to share personal experiences, folklore, and local history, which helps establish a sense of community and shared identity. ​Additionally, ​they provide a way for the characters to indirectly confront their fears, their loneliness, and their unresolved feelings. ​ For Valerie, the ghost stories resonate on a more personal level, as they echo with her own tragic experience and validate her feelings of loss and connection to her deceased daughter. ​Ultimately, ghost stories are not just about the supernatural; they are a way for the characters to explore their humanity, reveal their inner lives, and forge bonds in the otherwise isolated environment of Northern Ireland.

I saw “The Weir in previews, and a few of the actors seem to occasionally struggle with their lines. Also, one might have hoped for more inflection in the delivery of the lines overall. Storytelling is a dramatic exercise. However, under Ciarán O’Reilly’s usual deft direction and the cast’s ability to perform their roles with authenticity and believability, the action of the narrative moves ahead seamlessly.

“The Weir” explores the universal themes of loneliness, grief, and the solace found in community, a solace that is fragile and can be threatened easily at any time. There are those inexplicable things that go bump in the night, and even the Germans who vacation in the area are experienced as a disruption of the accustomed tranquility of the countryside.

Conor McPherson successfully raises the enduring questions about what makes us humans afraid and whether those fears are mostly about external events or the internal machinations of the mind and spirit.

Perhaps Jack’s advice to Valerie as they depart the bar (set by Charlie Corcoran) is good advice for us as well: “Ah, I think that’s the right attitude. You should stay with the company and the bright lights.” Do you, dear reader, believe in ghosts?