David Ireland’s “Ulster American” is a play that doesn’t necessarily feel novel at first glance. It traverses the ground that many playwrights and commentators have discussed over the last five years in terms of gender power imbalances in the performing arts as well as broader structural privilege in the entertainment industry (although Ireland has said that he wrote the first draft of the play before #MeToo). Yet, this is a play that does so in a way that feels fresh and intriguing. Combined with superb acting performances, this is a play that subverts expectations and is a great watch. 

Playing host to this staging of the play is the Ensemble Theatre, which has utilised much of the Switzerland set (which is playing concurrently) for this production. Yet, while there are more similarities between the two plays than one might initially think, there are enough differences in the staging to distinguish the two productions. The play begins with a discussion between British theatre director Leigh Carver (Brian Meegan) and esteemed American actor Jay Conway (Jeremy Waters) about a new play that they are performing in. The discussion quickly turns to a moral quandary about sexual assault posed by Conway that deeply disturbs Carver, yet he responds apparently to appease his star actor. The beginning of the play is quite slow is both Meegan and Waters struggle to find their feet initially but the energy of the room changes when the playwright, Ruth Davenport (Harriet Gordon-Anderson) enters the fray. 

Gordon-Anderson gives an exceptional performance from her first entry with a delivery that immediately draws attention. She is compelling in her presence and both Meegan and Waters feed off her energy. As the actors decide whether the play is to be staged at all, the tension builds, which is a great spectacle for the audience. 

Beyond the surface level, the strong performance of the three actors allows for a meaningful exploration of the intricacies of ego and celebrity. Conway is obsessed with his image and performativity but allows for his inner prejudices to come out the moment he is challenged. Carver is similar, attempting to deflect from his own biases by blaming Conway for his own shortcomings. This is done in a way that doesn’t feel at all contrived and is done with a humour that does not trivialise the heavy underlying themes but instead with a lightness that facilitates meaningful connection with the audience. 

This is a captivating work that invites those who see it to meaningfully reflect on its themes and specifically on the treatment of women in the entertainment industry. Ireland captures celebrity perfectly in the work and while the ending may be a little over the top for some, the rest of the play is superb in unpacking some of the structural issues that pervade the performing arts. This is a play that takes an important concept and deals with it in an intriguing way. It is well worth a watch. 

Rating: ★★★★1/2

Ulster American plays at the Ensemble Theatre until 8th June. For more information, click here.

Photo credit: Prudence Upton