Playwright David Ireland’s very clever and funny script for "Ulster American" brilliantly tackles issues of identity, politics, feminism, and nationality.
He creates three characters who meet to begin rehearsals for a new play, using that setup to explore these themes.
Ireland hilariously imbues them with enough pride and prejudices to spark lively discussion and create truly great theater.
Laboring under false impressions of one another, the witty dialogue crackles as they attempt to resolve their differences.
Leigh Carver (Max Baker), a British theater producer, is about to begin rehearsals for a new play. He has signed “…this glorious genius of an actor…” American Jay Conway (Matthew Broderick) as the lead. Conway believes, based on Carver’s description, that the playwright is Irish. Ruth Davenport (Geraldine Hughes), however, disagrees, having been born and raised in Northern Ireland. Davenport’s play is set during the Troubles, and that may be the only point on which all three agree.
Skillfully directed by Ciarán O’Reilly, the story unfolds naturally as these new collaborators begin to learn who each other really are. As they talk, their quirks and conflicts gradually emerge. O’Reilly paces these revelations perfectly, maintaining both interest and a sense of mystery. Where is this going? As misunderstandings and personal preferences pile up, frustration and confusion build toward an explosive conclusion.
The play’s humor extends beyond personal and political misconceptions; it is also packed with sight gags and glaring displays of ignorance. Historical references abound, and discussions of Irish history and the Troubles leave no side blameless. The comedy is both rich and intelligent.
While discussing the Bechdel test, which gauges involvement of women in media, with Leigh, Jay remarks, “Bechdel should have added that to his f--king test. If he really gave a f--k about women.” Of course, Bechdel is a woman.
Jay also notes that Baldwin believed the n-word was “an invention of the white race…placed upon Black people without their consent,” to which Leigh responds, “Yes, as a white man, he has to answer for his racist language.” Jay is referring to James Baldwin, while Leigh mistakenly thinks of Alec Baldwin—or perhaps one of the lesser Baldwins.
Max Baker, Geraldine Hughes, and Matthew Broderick in Irish Rep's 2026 Production of "Ulster American." (Carol Rosegg)
On filmmaking, Jay proclaims, “I happen to know a little something about American cinema, and James Cameron is the greatest filmmaker in the history of our art form…” Ruth quickly points out, “He’s Canadian.”
Ruth also endures Leigh’s high-handed mansplaining about Northern Ireland’s status. Belfast’s Leigh insists she is actually an “Irish writer.” Ruth counters: “But Northern Ireland’s part of the UK. The UK is British. I was born in the UK. So I’m British.”
What the audience can agree upon is that three extraordinary actors bring a brilliant script vividly to life.
Baker’s Leigh, the man in the middle, attempts to placate the seemingly childlike Jay and Ruth’s insistence on truth. Yet his own pride and prejudices undermine him, turning his efforts to do right into repeated missteps.
Broderick’s Jay presents as a powerful Hollywood star—complete with self-provided proof—but is also something of a dolt. Hughes’ Ruth is grateful for the opportunity to work with Conway and Carver, yet fiercely defends her artistic and personal integrity. She goes to extraordinary lengths to ensure her play is staged as promised.
The 90-minute production unfolds in the richly appointed sitting room of Leigh’s Cambridge home. Scenic designer Charlie Corcoran beautifully dresses the stage with comfortable furniture and carefully chosen décor befitting a theater director’s sensibilities. A book featuring Samuel Beckett’s intense gaze watches over the proceedings, while show posters line the walls.
All the plot threads wind their way toward hilarity and absurdity. However, the characters’ inability to reach consensus or collaborate peacefully—echoing the tensions of the Troubles—leads to mounting frustration, anger, and sadly violence. Although momentarily shocking, "Ulster American" remains a delight.
"Ulster American" runs at the Irish Repertory Theater in New York City through May 10.
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