By Walter Murphy
The Irish play, The United States vs Ulysses, contains a play within a play during a trial that unfolds like historical nesting scenes. The story details how the James Joyce masterpiece, Ulysses, came to be published in the U.S. Like the novel, it can be difficult to follow: frustrating but filled with brilliant touches that make it as satisfying as reading the actual book. It’s worth the effort because the Irish cast’s performances are outstanding.
The show starts with a 1933 episode of the radio program, “The March of Time,” in which the key issue is whether Ulysses is pornographic and should therefore be banned. The radio broadcast then morphs into a reenactment of the trial, featuring the civil rights lawyer Morris Ernst (Mark Lambert) bringing a unique and untested legal strategy. The prosecutor for the Southern District of New York, Sam Coleman (Ross Gaynor), argues that there are many passages in the book that would offend citizens, therefore, the work should be banned. The judge, John Munro Woolsey (Morgan C. Jones), is skeptical of Ernst’s belief that passages needn’t be read in court to determine whether it is pornographic or simply an accurate presentation of the lives and thoughts of ordinary people, employing Joyce’s innovative stream-of-consciousness literary style.
During a recess, the stage explodes with a dream sequence of the Nighttown episode of Ulysses. The episode takes place in the Monto area of Dublin known for its brothels and seedy characters. Leopold Bloom (Jonathan White), of Ulysses fame, is taunted, reviled, pelted with garbage, bound and gagged, and sentenced to be hanged by the court of the episode’s shady characters. His wife, the randy Molly Bloom (Clare Barrett), lasciviously flirts and tempts him as a Mrs. Marion and he is accused of sexual indiscretions by Gerty McDowell and Bella Cohen. Bad day to be Bloom.
Playwright Colin Murphy brilliantly seesaws the reading of the final verdict by Judge Woolsey with Molly Bloom’s final bawdy and emotional soliloquy.
Molly: yes and drew him down to me
Woolsey: may be somewhat emetic,
Molly: so he could feel my breasts
Woolsey: but nowhere does it tend to be
Molly: all perfume yes
Woolsey: an aphrodisiac.
Molly: and his heart was going like mad
Woolsey: Ulysses may, therefore,
Molly: and yes I said
Woolsey: be admitted into
Molly: yes I will
Woolsey: the United States.
Molly: Yes
The United States vs Ulysses progresses from the breathless news style on the radio to the intellectual gymnastics of legal theory during the trial to the joyful vibrancy of Joyce’s work, presented in the gaudy trappings of Europe’s most famous redlight district, Monto, in the Nighttown episode. Even though we know the verdict, it is a fun ride to get there.
For Ulysses fans, (and I count myself as one,) there is much good here. The strategy presented at the trial by Ernst was very clever in that he deliberately avoided reading from the work. He admitted that there were “dirty words” and, in many instances, scatological references, but these were commonly used by many. To ban the entire book was overreach.
Oddly, the government prosecutor let his personal code of conduct cause him to lose the case. Ernst held the opinion that all the prosecution had to do to win the case was to read from the book. When asked why he didn’t just read some of the dirty passages in court, Coleman replied, “Why, because there was a lady in the courtroom, Morris. It would have been difficult enough to read those words in front of the judge—I could hardly do it in front of a lady—whoever she was.” The lady in the court was Ernst’s wife Margaret (Ali White). Sometimes it’s better to be lucky than good.
Playing multiple roles was the Irish cast assembled for this production. All were extraordinary. In particular, Clare Barrett’s Molly Bloom gave me a giggle every time she offered to perform a naughty bit during the trial. It became a running gag that delighted each time she chimed in.
Again, there is much good here, especially the direction by Conall Morrison. The 80-minute runtime features a lot of dialogue. The trial did have two lawyers and a judge pontificating at maximum volume, yet the play never seems labored. The New Yawk accents are at times elusive, but not to the detriment of telling the tale.
Set Design, by Liam Doona seamlessly shifted from radio studio to courtroom to Nighttown. Costume Design (Catherine Fay) replicated New York fashion circa 1933. Lighting (John Comiskey) and Sound Design (Simon Kenny) were perfectly timed and placed within the story.
The United States vs Ulysses. Through June 1 at the Irish Arts Center (726 11th Avenue, between West 51st and 52nd Streets).
Photos: Nir Arieli