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Ulster American

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Ulster American

Der Theaterregisseur Leigh hat Jay und Ruth zu sich nach Hause auf ein Glas Wein eingeladen. Am folgenden Tag beginnen die Proben.

Symbolbild: Schaubühne

Symbolbild: Schaubühne

© dpa

Leigh has invited Jay and Ruth to his home for a glass of wine. Rehearsals begin the following day, and Ruth, the young female author of a highly acclaimed play about a British monarchist who carries out a politically motivated massacre in Northern Ireland, is to meet Jay, the Oscar-winning actor Leigh has managed to secure for the lead role in the pro­ duction he will direct. While the two men agree that female voices should be given more space in the theater, that »the industry« is systemically misogynistic and racist, and that white, old cis-men should finally shut up, Jay, despite all his eagerness to be politically correct, confides in Leigh and asks him a hypothetical question that clearly crosses a line. When Ruth finally shows up, Jay and she are initially thrilled with each other. Jay has even sent her play to Quentin Tarantino. But an in­depth conversation about the content of the play and the oh so important history of the political conflict in Northern Ireland suddenly raises deep questions about »real« identity and the right to speak. The project suddenly seems in danger. Even though Leigh tries to make peace, he can’t help but share Jay’s earlier misstep with Ruth. When Ruth grabs her cell phone and threatens to tweet, the balance of power shifts for good.
In his bitterly wicked comedy, David Ireland addresses the contradictions that arise when sociopolitical struggles for more participation in the cultural scene are shamelessly instrumentalized for a barely concealed abuse of power. Are our utterances to be judged regardless of context? Can there be a discrepancy between what we think privately and our public image? And is anyone ready to sacrifice their individual advancement to the pursuit of a fairer, more respectful (theatre) world?
Rikki Henry, born in London, studied filmmaking and performing arts, and lives in Berlin these days. He was an assistant director at the Vic Theatre in London, at the Théâtre des Bouffes du Nord in Paris with Peter Brook and at the National Theatre in London. His production of Shakespeare’s »Hamlet« at the Landestheater Niederösterreich won the Nestroy Prize for the »Beste Bundesländer-Aufführung«, and in 2020 he staged Shakespeare’s »Othello« there. Most recently, he staged »Uncle Vanya« at the Dortmund Theatre.

Artists/Collaborators: (Kampfchoreografie), (Musik und Sounddesign), Elisa Leroy (Dramaturgie), Ulla Willis (Bühne und Kostüme), Veronika Bachfischer (Mit), Robert Beyer (Mit), David Ruland (Mit)

Runtime: Sun, 12/05/2024 to Mon, 20/05/2024

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