Ulysses
With a stage that had been adapted especially for the show and the option to sit on the stage and amongst the action if you were feeling particularly brave (or pocket heavy!); Ulysses promised to be an exciting and unusual performance. Sadly I am not in the position to claim to have read Ulysses and to henceforth be able to offer expert analysis between the weight of this stage production in comparison to the book. This is not to say, however, that I wasn't able to appreciate the ingenuity of the theatrical experience in its own right; offering sharp comic acting, a stage set to drool over and surprises at every corner, including hilarious puppetry and musical outbursts, this was a play to be enjoyed by all. Adapted for the stage by Dermot Bolger, he successfully managed to condense a lengthy and, rather daunting, literary read into a two act play of two hours and thirty minutes. With the majority of actors taking on various roles and a broad selection of theatrical styles thrown into the mix, it was by no means a simple plot to follow, but this did not have to thwart one's enjoyment. Afterall, a text known for its variety of literary syles and genres to be eulogised (Ulyssised?!) in a naturalistic, drawing room production would not be fitting. Instead, one is greeted with a wonderful cacophony of theatrical madness, plenty of vulgar innuendos (it’s not all ‘high brow’) and even some metempsychosis thrown into the mix. David Pearse and Janet Moran embody the central characters of Leopold and Molly Bloom whilst the other actors, including Clowning expert Raymond Keane and Catriona Ennis who delights the audience with her diversity of accents and comic ability, take on a variety of different roles. Ulysses was a fast paced and exciting production which has certainly succeeded in urging me to read James Joyce’s original and seminal text. Special mention must go to the puppetry designer and maker, Gavin Glover and to the costume designer, Niamh Lunny who helped to elevate the production into something sublime.
