Review: ULSTER AMERICAN is a Deliciously Disturbing Dark Comedy That Will Have You Vacillate Between Whether To Laugh or Gasp.

Saturday 15th May 2021, 7:30pm, Reginald Theatre, Seymour Centre Chippendale

The ugly truth behind the faux 'modern woke man' is laid bare as ULSTER AMERICAN strips back the veneer with hilarious and horrific consequences. Following its success in Edinburgh Festival Fringe in 2018, David Ireland's award winning 75-minute play is presented with realistic clarity in its satirical absurdity by director Shane Anthony.

The compact dark comedy is set in the swanky London home of director Leigh Carver (Brian Meegan) the day before rehearsals for a new play about the 'Troubles' in Northern Ireland are due to start. The play's leading man, an Academy award winning American actor, Jay Conway (Jeremy Waters) has flown in from LA and rising British playwright, Ruth Davenport is due any minute from Belfast. While Leigh and Ruth have worked together before, it does not appear that either have met Jay before. Desperate to form a good impression both men appear, at face value to be woke and supportive of the issues in contemporary focus, or at least their words give that impression, until it becomes clear that it may all be an act. Jay may not be as progressive as he purports to be and Leigh will seemingly sacrifice whatever principles he may have to save his show and through it all Ruth is left to be the voice of reason and integrity against the patriarchy that persist in trying to tell her who she is and what her work should be about.

Veronique Bennett has transformed the black box space of Seymour Centre's Reginald Theatre into a fabulous expression of a London loft apartment with high windows looking out onto the exposed staircase and historic wall with remnants of plaster from the building's previous life. The space is furnished with the sort of assortment of furniture that, while nothing matches, looks like it is lifted out of Vogue Living, from vintage leather sofa, retro Scandinavian armchair, and contemporary coffee table to an array of objet d'art and books. Claudia Kryszkiewicz's costuming confirms that American leading man Jay figures himself as somewhat of a heart throb with unbuttoned black shirt and tight jeans while Leigh is the epitome of conservative English in chinos and button-down shirt beneath a basic grey knit and writer Ruth is fresh and young in her fashions of bold colors and patterns in clothes that have a contemporary yet hip vibe.

ULSTER AMERICAN, whilst having its origins prior to the #MeToo movement, is very much an up to the minute piece as the world is navigating how to show more respect for women, be more supportive of who people are and how they see themselves, and how men can and must relinquish the power the patriarchy and their masculinity has culturally afforded them in the past, understanding. Director Shane Anthony ensures that the work retains the requisite pace while allowing the silence to let the bombshells drop so the audience remains conflicted as to whether to laugh at the absurdity of the events unfolding or gasp and groan in horror at what is being said. The work exposes contradictions in society that say its alright for one group to choose how they define themselves while others have those rights taken away, dictated by others who feel that someone cannot call themselves something because it does not sit with their view of the world. It challenges the power of words and the question of who's feelings should be considered with their use, particularly dictating how someone should feel if the intent behind it is said to be benign. It highlights the hypocrisy of those who say there are feminists but refuse to acknowledge the voice and knowledge of women as they think they know better and hijack the conversation or mansplain an idea.

Jeremy Waters is suitably oily and contrived as the American actor so protective of his image that hides the truth of his being that would have him out of work in an instant if it were ever exposed. As with the many American actors that have mangled non-American accents Waters ensures that Jay makes a meal out of the attempt at a Northern Irish accent for additional comic effect. Brian Meegan ensures that Leigh is seen as the insecure director desperate to keep his star happy and keep his play on track to open so he'll compromise his values if it will help him bond with Jay.

The force of the work though is Harriet Gordon-Anderson as Ruth Davenport as she ensures the once the playwright sees through Jay's superstar status, remains the steadfast voice unwilling to be diminished by the men that are trying to push her into acquiescing to their views for the play. Her looks of incredulous disgust at Jay and Leigh's behavior are powerful and her reactions are honest and relatable, particularly for any woman who has been subjected to a man talk over her or mansplain.

Current and comical in its satirical assessment of the force, or lack thereof, of the 'modern woke man', ULSTER AMERICAN is a great thought provoking work that blends weighty issues and dark humor.

https://www.seymourcentre.com/event/ulster-american/

Photos: Richard Farland

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