There’s a narrative principle attributed to the great playwright Anton Chekhov suggesting that if a gun is introduced on stage, it must be used eventually. In David Ireland’s play Ulster American at the Irish Rep, it’s not a gun but an Oscar that will have to play a role. And similarly, when the name Quentin Tarantino is bandied about, you can probably assume there will be some violence. No surprise there but the majority of violence in Ulster American is the verbal kind. And more than any physical violence, it will shock in this wild satire that, depending on your sensitivities, will be hysterically funny or crudely off-putting.
In the first few minutes of the play, two of the three cast members are seated comfortably in a tasteful living room; and casually, as if to comment on the weather, one of them brings up the n-word. It’s introduced by Jay Conway (Matthew Broderick), a famous Hollywood actor who’s come to London to star in a new play concerning the “Troubles” (the long bloody conflict in Northern Ireland). He’s at the home of the director Leigh Carver (Max Baker) who’s arranged for Jay to meet the playwright Ruth Davenport (Geraldine Hughes) before rehearsals begin. In short order, Jay reveals himself to be a misogynistic, pseudo-liberal, self-aggrandizing dolt. And after he throws in even more appalling references–the moral justification of rape and various vulgarities, to name a few–director Leigh bristles but plays along to keep his star happy.
Not so happy is Ruth, whose initial thrill at the prospect of her movie idol signing on to her play turns to revulsion when it becomes quickly clear that they’re on opposite poles concerning just about everything. She’s from Belfast but identifies as a British Protestant. Jay is an American who comes from Irish Catholic stock and he thought the play was sympathetic to his Irish roots. He’s shocked to discover that he’s agreed to star in a play which frames his people as villains.
[Read Michael Sommers’ ★★★☆☆ review here.]
David Ireland knows how to touch a nerve with his biting dialogue. As sparks fly, nasty truths emerge between his three characters; and the humor is strikingly dark. There were intermittent gasps throughout the 80 minute one-act as audience members were stunned to hear the obscene comments that flew so off-handedly out of Jay’s mouth.
The laughs are genuine and well earned; and Ciaran O’Reilly’s solid direction milks them for all their worth. His production is rock solid, aided immeasurably by Charlie Corcoran’s expansive scenic design, adding wonderfully suggestive touches on the tiny Irish Rep stage. Fun spotting the Samuel Beckett book on the upstage shelf and the theater posters nicely framed all about.
Life imitates art with Matthew Broderick’s appearance in the play, though ironically he seems somewhat miscast. He may be a two-time Tony winner and beloved movie actor, but he lacks the bravado the role demands. And given his nerdy, monotone delivery, it’s hard to believe his Jay is a bonafide Hollywood star. Still, he is convincing as the egotistical jerk and his attempts at a Belfast accent are a hoot.
Almost as offensive is Leigh who turns out to lack his own moral compass. Max Baker plays him with the ripe air of a pompous thespian. But when it looks like Jay is going to bolt from the project, Leigh drops the facade and twists himself into pretzels promising the actor just about anything to keep him on board. That includes re-writing the play and adding a Riverdance sequence in the heavy drama. It’s a marvelous performance sending up the phony pretenses of the artist class.
David Ireland is from Northern Ireland and it’s clear that his sympathies lie with Ruth. Geraldine Hughes is a wonderful actor and it’s a joy watching her pull out all the stops in the role. She transforms from a starry-eyed fan to a woman who finds her gender, livelihood and nationality all threatened. And when she finally summons her “Kill Bill” rage, it’s quite a scene!
Ulster American was first produced in 2018 at the Edinburgh Festival and has been seen elsewhere (including a 2023 London production starring Woody Harrelson), but it’s every bit as resonant today. The play is a scathing indictment of celebrity culture and the slavish ways celebs are catered to. Authenticity and truth are their watchwords but the truth is often anything but. There’s a line in the play when Jay talks about his initial impression of Ruth’s script, saying “This chick is the new Chekhov.” It perfectly sums up the sexist, bloviating, ignorance that dominates the culture. And while David Ireland is no Chekhov, he’s a fine playwright with truthful things to say…and a lot of uncomfortable laughs along the way.
Ulster American opened March 15, 2026, at the Irish Repertory Theatre and runs through May 10. Tickets and information: irishrep.org
