A rare opportunity to see Brian Friel’s ‘Molly Sweeney’ is being presented at the historic Chopin Theatre building at its intimate Studio through May 8. The celebrated Irish playwright won a 1996 Tony Award for this very contemporary tale of a 40-year-old woman blind from infancy who has her vision restored, examining the aftermath.

It is based on a case study written up in 1995 by Oliver Sacks, telling of the real patient on which ‘Molly Sweeney’ is based. The notoriety of playwright Friel, who died in 2015, has been eclipsed by more recent Irish script writers like Conor McPherson (‘The Weir’ and with Bob Dylan, ‘Girl from the North Country’) or Martin McDonough (‘Beauty Queen of Leenane’ and ‘Three Billboards Outside Ebbing, Missouri’).

The Irish Theatre of Chicago has given the two-act play a skillful production under director Siiri Scott. Molly (Carolyn Kruse) is a vibrant figure, an athletic and successful woman living a rich life, who has married Frank Sweeney (Matthew Isler) who is a bit too much of a dreamer who attaches himself to efforts like saving whales in which he hopes to gain fame and distinction. But things end badly, usually, as in the case of introducing Iranian goats to Ireland. (The animals never quite adjusted to the time zone change and must be milked at ungodly hours).

Mr. Rice (Robert Kauzurlaric), an ambitious doctor also hoping to reclaim his clouded reputation with a medical miracle for Molly, who begins to suspect she is a foil in other peoples’ goals. The playwright’s mastery becomes apparent as the action is simply a series of monologues—each recollecting aspects of their lives and the story at hand. Yet my interest never flagged, and the recounting of dances and parties, by which other characters are injected into the action. The simple stage becomes all the world, as the Bard says. And we are left wanting more at intermission.

Like the real patient, Molly regains her sight, but with unintended consequences and a steep personal cost. The Irish Theatre of Chicago brings careful attention to dialect, and the Irish English which is its own language (like Puerto Rican Spanish, perhaps) is delivered convincingly to Chicago ears. Kruse is most vibrant and the perfect picture of Molly as it unfolds in the script. And likewise Kauzurlic as Mr. Rice and Isler in the role of Frank Sweeney.

One quibble would be the stage which spreads wide across the front row, so the spotlighted characters are far from each other, giving those in center rows a better view than the left or right seating. But it's a small thing in this lovely space. ‘Molly Sweeney’ is a lovely return to live production at the Chopin Theatre Studio, and demonstrates Irish Theatre of Chicago hasn’t been diminished a bit by the pandemic. Performances run Thursday through Sunday (except Easter) through May 8. www.irishtheatre.org