With a theatrical rollercoaster that will have you laughing one moment and cringing the next, Woody Harrelson plays the lead role in the provocative play “Ulster American” at Riverside Studios. In this deliberately provocative comedy from 2018, writer David Ireland, starring Harrelson, tries to shock viewers out of their complacency by sending a cruel message to himself.
Harrelson, best known for his role in Cheers, assumes the character of Jay, a vain and brainless American movie idol. Jay agrees to star in a violent Unionist play by Ulsterwoman Ruth, portrayed by Louisa Harland, for English director Leigh, played by Andy Serkis, in London. The catch? Jay mistakenly believes the play glorifies his Irish Catholic heritage.
Under the direction of Jeremy Herrin, the production navigates a delicate balance between splendid humor and uncomfortable moments. The play’s dialogue veers into territories that might make you recoil, addressing topics like rape and the defense of killing innocent civilians. The discomfort is intentional, challenging the audience to confront the thin line between fictional absurdity and harsh realities.
However, beneath the surface, the play appears somewhat lazy, with characters seemingly forced into absurd and improbable positions to serve the writer’s agenda. Beyond addressing critical issues like misogyny, sexual violence, identity politics, and social media cancellation, it subtly explores the challenges of being a writer and witnessing the misinterpretation of one’s work by actors, directors, and critics.
The setting is Leigh’s impeccably bourgeois bohemian home, a backdrop for the clash of ideologies and inflated egos. As Jay bombards the space with self-regarding LA blather, fueled by copious amounts of wine, the audience is treated to a humorous yet poignant exploration of the clash between Hollywood vanity and genuine artistic intent.
The interaction between the characters unfolds with a palpable attempt to showcase their liberal and feminist credentials. A notable instance is when they explain the Bechdel test to each other, injecting humor into the discourse. However, this humor leads to a pivotal and uncomfortable exchange about rape, where the play challenges its audience to confront the stark contrast between fictional scenarios and the harsh realities of the world.
Ruth’s arrival from Belfast introduces a new dynamic to the play, disrupting the rhythm established by Jay and Leigh. Initially portrayed as giddy and hyper, Ruth transforms into a forceful character as she confronts the patronizing behavior of the two men. Harrelson’s caricature of Jay is a masterclass in timing and technique, with nuances in yoga posing and chin-juts adding layers to the character.
While Harland’s portrayal of Ruth brings emotional depth to the play, Serkis wavers in his depiction of Leigh, navigating Brexit discussions with bluster and rage. Despite the stellar performances, the believability of the characters meeting each other feels questionable, raising doubts about the authenticity of their interactions.
The play concludes with a violent ending that elicits both laughter and discomfort. While it’s undeniably remarkable to have Woody Harrelson grace Hammersmith over the Christmas period, the vehicle through which he arrives appears to be a somewhat dubious one, leaving audiences with a mix of amusement and unease. “Ulster American” emerges as a thought-provoking yet divisive addition to the Riverside Studios repertoire.
