James Joyce’s novella, The Dead, describes a holiday gathering on January 6, 1904, the Feast of the Epiphany, in the Dublin home of two elderly sisters, Kate and Julia Morkan, and their niece, Mary Jane. At the party are students, friends, a celebrated tenor, a lost alcoholic, and the couple, Gabriel and Gretta Conroy. Over the course of an evening, there are conversations, music, dancing, and dining. There are speeches and disagreements – polite and impolite – and when it is all over Gabriel learns something about his wife that changes his sense of who she is and who they are to each other, of what it actually means to be alive, and to be dead.
This exquisite recreation of James Joyce’s haunting story was the most sought-after theatrical event of New York’s 2016 and 2017 holiday seasons. We relish the opportunity to welcome you again, or for the first time.
Christopher Innvar, stepping into a role played by the estimable Boyd Gaines eight years ago, brings an easy authority and charisma to Gabriel, while capturing the complacency that, for example, prompts him to ask Lily about her personal life. And in his scene alone with Gretta, played by a tender, radiant Kate Baldwin—one of musical theater’s more elegant leading ladies, who happily gets to sing here as well—Innvar conveys both the unease such men can experience when their perspectives come into question and the curiosity and yearning that distinguishes some from others.
Devotees of Joyce may quibble about this staging. Unlike the quintessentially Irish author’s original story or John Huston’s memorable 1987 film adaptation, the script by Paul Muldoon and Jean Hanff Korelitz doesn’t really explore the interior monologue of its taciturn and writerly hero, Gabriel, except in a well-executed final scene where he and Gretta settle down after the party in their hotel bedroom (situated for this show on the third floor, just above the dining room, with the audience cramming in on one side to face the windows overlooking Central Park and the Met). Here, Gretta drifts off to sleep after confessing the memory of a girlhood love that the evening’s festivities have jostled back into her consciousness. And Gabriel is finally able to articulate aloud his deep-seated anxieties about the choices he’s made as well as about the overall evanescence of life — as snow magically falls just outside the window. The Dead, 1904 captures the sublimely melancholy mood of Joyce’s story, like a melody from the past that’s bubbled back into our consciousness, and that alone is cause to rejoice.
2016 | Off-Broadway |
Irish Repertory 2016 Off-Broadway Revival Off-Broadway |
2017 | Off-Broadway |
Irish Repertory Theatre 2017 Return Engagement Off-Broadway |
2018 | Off-Broadway |
Irish Repertory Theatre 2018 Return Engagement Off-Broadway |
2024 | Off-Broadway |
Irish Rep Off-Broadway Production Off-Broadway |
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