In 1933, the landmark trial of “United States v. One Book Called Ulysses” cleared the way for the publication of many significant works of literature that include sexual content and adult language. Though James Joyce’s seminal novel was readily available in Europe at the time, it had twice been deemed obscene by a New York court. Random House founder, Bennett Cerf, determined that being the first in America to print the book in its entirety would launch them into the big leagues. To that end, his company attorney, Morris Ernst, strategized what became a test case for freedom of expression. Judge Woolsey’s deeply considered decision is practically a literary work in itself.
The events of the trial — its echos reverberating off the walls of today’s public libraries and scholastic institutions — form the foundation of The United States vs Ulysses currently running at the Irish Arts Center. Playwright Colin Murphy takes the name of the actual case to heart, positioning sections of the book in the role of defendant. He also fuses the courtroom drama with a rather unrefined behind the scenes look at the live reenactment produced by CBS’s The March of Time.
This multilayered investigation is executed by a skillful cast of six under the adept hand of director Conall Morrison. The send-up of the radio broadcast gives way to a serious lesson in interpretive performance. The ensemble moves through characters historic and fictional, often brushing one against the other. Jonathan White provides cohesion even while portraying a number of different narrator types. Clare Barrett is an utter delight as Molly Bloom, especially in her interactions with Morgan C. Jones’s cerebral Judge Woolsey. Ali White serves as a counterbalance to Barrett’s wild abandon, taking on the sterner female roles. Ross Gaynor pulls off playing Bennett Cerf and the prosecuting lawyer as well as Molly’s oily lover. Ernst is rendered by Mark Lambert, personifying this production’s blend of honest reflection and sharp-edged humor.
The entire design team facilitates the slide between modes of storytelling. The actors are able to switch roles with the rapid exchange of a hat, the wrapping of a scarf or the removal of glasses (costumes by Catherine Fay). Liam Doona’s set is like a gift box, with sound proofed radio studio opening to reveal Paris, Dublin, and the Southern District of New York. Each state of the narrative is given its own tonal palette thanks in large part to John Comiskey’s lighting. Music and sound by Simon Kenny enhance the atmosphere.
Combining elements of history, literature, law, society and culture, The United States vs Ulysses reminds us of the fight which won us the right to read whatever we choose. Along the way, it pokes fun at the powerful men who tried to silence a fictional woman for being a sexual being. Performances continue through Sunday, June 1, at The JL Greene Theatre in the Irish Arts Center, 726 11th Avenue. There is a lovely cafe in the lobby that is open before and after the show. Runtime is a sleek 85 minutes. Tickets start at $25 and are available at https://irishartscenter.org/event/the-united-states-vs-ulysses.
The Unforgettable Line 