AFADELAIDE

1-17 MARCH 2019FESTIVAL

#AdlFest adelaidefestival.com.au

Duration 1hour 25mins, no interval

Please be aware that this play contains references to sexual assault and some graphic violence and accordingly is recommended for audiences aged 16 and over.This Australian-exclusive premiere season of Ulster American is presented by the Adelaide Festival. The production is supported by Creative Scotland and the City of Edinburgh Council, with additional support from the JMK Trust and the Made in Scotland Onward Touring Fund.

THEATRE / SCOTLAND

Ulster AmericanTraverse Theatre Company

13 – 17 Mar / Dunstan Playhouse

Writer David IrelandDirector Gareth NichollsDesigner Becky MintoLighting Kate BonneyComposer Michael John McCarthyAssistant Director Kolbrún Björt SigfúsdóttirFight Director EmmaClaire BrightlynProduction Manager Kevin McCallumChief Electrician Renny RobertsonDeputy Electrician Claire ElliotHead of Stage Gary StaerckLighting & Sound Technician Joe Davis Costume Supervisor Sophie Ferguson Cast Darrell D’Silva, Robert Jack, Lucianne McEvoy

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When I first wrote Ulster American I didn’t think anyone would produce it, let alone come and see it. I was surprised and delighted that the response to it was so positive in Edinburgh. I’ve no idea why that is. The characters are outrageous and occasionally terrifying. But then we do seem to be living in outrageous and occasionally terrifying times.

Like Ruth in the play, I grew up in Belfast during the Troubles. I’m well aware of the dangers of tribalism and sanctimony. And sometimes it feels like the whole world is becoming like Northern Ireland in the 80s and 90s. Ulster American offers no solutions but perhaps a respite.

As it goes on tour, I hope audiences in Australia, New Zealand and elsewhere will find themselves entertained, engaged and sometimes infuriated by this unnerving burlesque of a play.

For me, theatre is at its best when it’s a communal experience, where people can come together and respond to something – live and in the moment. And this certainly was the case during the first outing of Ulster American. So many people connected with it as it touched on themes such as identity and gender politics – themes that are absolutely at the forefront of peoples’ minds, both politically and socially. It provoked some strong emotions and sparked debates in the bar, online and in the papers long after people saw the show. I think theatre has a unique power to do this and it’s vital we don’t shy away from that. It will be fascinating to see if audiences in Australia respond to the play (and its stellar cast) with the same energy and passion as they did in Scotland.

A classic three-hander set in a serviced apartment involves Jay, a rambunctious Oscar-winning actor taking the lead in a play that connects with his Irish roots; Leigh, an English director who will do anything to get noticed; and Ruth, the Northern Irish playwright whose script is hopefully about to be turned into a West End hit.

The stage is set for great success but when the three meet to discuss the play’s challenges and provocations a line is crossed, and the heated discussion quickly escalates to a dangerous and violent climax.

A Message from Writer David Ireland

The Scenario

A message from Director Gareth Nicholls

ua.edu.au/degree-finder search ‘creative’

A future alive with creative ideas

BACHELOR OF CREATIVE ARTS

Formed in 1963 by a group of passionate theatre enthusiasts, the Traverse Theatre was originally founded to extend the spirit of the Edinburgh festivals throughout the year. As Scotland’s foremost theatre company dedicated to new writing, the Traverse is proud to deliver its year-round mission of championing creative talent by placing powerful and contemporary theatre at the heart of cultural life – producing and programming urgent and diverse work. Through the work it presents, the Traverse aims to both entertain and stir conversation – reflecting the times and provoking crucial debate amongst audiences, inspiring them to ask questions, seek answers and challenge the status quo. The Traverse has launched the careers of some of the UK’s most celebrated writers – David Greig, David Harrower, and Zinnie Harris – and continues to discover and support new voices. Outside the theatre walls, the Traverse runs an extensive engagement programme, offering audiences of all ages and backgrounds the opportunity to explore, create and develop.

Belfast-born David Ireland claims he became a playwright after being unemployed and unemployable as an actor for three years, despite having trained as an actor at the Royal Scottish Academy of Music and Drama. and performing with many UK companies including the Royal Shakespeare Company, Manchester Royal Exchange, Glasgow Citizens Theatre and the Traverse Theatre, Edinburgh.

His first play, What the Animals Say, was produced at Òran Mór, Glasgow. His other plays include The End of Hope (Òran Mór); Yes So I Said Yes (Ransom); Half a Glass of Water (Field Day); Most Favoured (Traverse Theatre/Òran Mór); Can’t Forget About You (Lyric Theatre, Belfast) and The Hen Night (Royal Conservatoire of Scotland).

He was Playwright-in-Residence in the Lyric, Belfast, from 2011-2012. Prior to Ulster American, his most recent successes include 2016’s dark comedy Cyprus Avenue, performed at Abbey Theatre, Dublin, the Royal Court Theatre, London, the MAC Belfast and the Public Theater, New York – and awarded the James Tait Black Prize and the prestigious Meyer Whitworth and Stewart Parker BBC Radio Drama awards; and 2017’s acclaimed Everything Between Us which premiered at the Finborough Theatre, London.

is Interim Artistic Director at the Traverse Theatre. His recent shows include Arctic Oil, How to Disappear and Letters To Morrissey (Traverse Theatre); the Scottish premiere of Yasmina Reza’s God of Carnage (Tron Theatre) and the sell-out production of Irvine Welsh’s Trainspotting (Citizens Theatre). Other directing credits include: Blackbird by David Harrower, Into That Darkness by Gitta Sereny, Vanya by Sam Holcroft (Citizens Theatre); Under Milk Wood by Dylan Thomas (Tron Theatre); A Gambler’s Guide to Dying by Gary McNair (Show & Tell); Prom by Oliver Emanuel (Òran Mór); Educating Ronnie by Joe Douglas (Utter); The Tin Forest South West (National Theatre of Scotland); Tis Pity She’s a Whore, Coriolanus, The Burial at Thebes (Royal Conservatoire of Scotland). Gareth has won three Fringe First Awards and was previously Citizens Theatre’s Main Stage Director in Residence (2014–16).

About Traverse Theatre

Gareth Nicholls Director

David Ireland Writer

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Designer Becky Minto’s recent projects include: How to Disappear (Traverse Theatre); The Last Bordello (Fire Exit); Shift (National Theatre of Scotland); Passing Places (Dundee Rep); The Rise and Fall of Little Voice (Pitlochry Festival Theatre). She has designed over 100 productions for companies including Royal Lyceum Theatre Edinburgh, Grid Iron, Visible Fictions, Vanishing Point, Scottish Dance Theatre, Lung Ha, All or Nothing, Perth Rep, 7:84, The Byre Theatre, Citizens Theatre, Upswing Aerial Theatre Company, Walk The Plank, Mark Murphy and Royal Conservatoire of Scotland. Becky was Associate Designer for the Opening and Closing Ceremonies for Glasgow 2014 Commonwealth Games. Her designs for the National Theatre of Scotland’s Ignition and Iron-Oxide’s White Gold were selected for the exhibition Make Believe/UK Design for Performance, at the Prague Quadrennial and the V&A in London in 2015. Her designs have been shown at the Society of British Theatre Designers exhibitions. She was awarded the Silver Medal for Space Design for the National Theatre of Scotland’s The 306: Dawn at the World Stage Design exhibition, 2017. She has been nominated for three Critics’ Awards for Theatre in Scotland and a Manchester Evening News Award for Best Design.

is a Cork-born, Glasgow- based composer, musician and sound designer. Work for theatre includes: Jimmy’s Hall (Abbey Theatre); Pride & Prejudice, God of Carnage, The Lonesome West, Under Milk Wood (Tron Theatre); The Hour We Knew Nothing of Each Other, Glory On Earth, A Number, The Weir, Bondagers (Royal Lyceum Theatre Edinburgh); Gut, How To Disappear, Grain In The Blood (Traverse Theatre); Trainspotting, The Gorbals Vampire, Rapunzel, Into That Darkness, Fever Dream: Southside and Sports Day (Citizens Theatre); Rocket Post, In Time O’ Strife, Blabbermouth, The Tin Forest, The Day I Swapped My Dad For Two Goldfish, Truant, Dolls (National Theatre of Scotland); August: Osage County, George’s Marvellous Medicine, The Cheviot, The Stag and The Black, Black Oil, The BFG and Steel Magnolias (Dundee Rep Theatre); Futureproof (Everyman Cork); Light Boxes, Letters Home: England In A Pink Blouse, The Authorised Kate Bane (Grid Iron); Showtime from the Frontline, The Red Shed (Mark Thomas/Lakin McCarthy); Un Petit Molière, The Silent Treatment (Lung Ha); Bright Black, The Not-So-Fatal Death Of Grandpa Fredo (Vox Motus); Ceilidh (Theatre Gu Leor); J.R.R. Tolkien’s Leaf By Niggle (Puppet State Theatre); The Interference (Pepperdine Edinburgh); Heads Up (Kieran Hurley/Show & Tell); A Gambler’s Guide To Dying (Gary McNair/Show & Tell); Glory (Janice Parker Projects); The Winter’s Tale (People’s Light and Theatre Company, Philadelphia). Work for film includes Where You’re Meant To Be (Paul Fegan), Hey Ronnie Reagan, Pitching Up (Maurice O’Brien), Spores (Richard and Frances Poet). He is lead artist on Turntable, a participatory arts project in association with Red Bridge.

is an Icelandic-born director working in Scotland. She is an Associate Artist at Annexe Repertory Theatre and Artistic Director of the multi- award-winning Brite Theater. Directing credits include: The Maids, We Got Now (Annexe Repertory Theatre); Hamlet (an experience), (Can This Be) Home, Richard III (a one-woman show), Bitter Sweet (Brite Theater); Creepie Stool, The Bruce in Ireland (Black Dingo Productions). Assistant Director credits include: A Number (Royal Lyceum Theatre, Edinburgh); Billy (The Days of Howling) (Òran Mór/Traverse Theatre); The Lady from the Sea (Gothenburg City Theatre); Blasted (Reykjavik City Theatre). Kolbrún is a budding playwright and was one of six mentored playwrights at Playwrights’ Studio, Scotland, and was part of the Writers Toolkit (Traverse Theatre) in 2017. Her work has been part of Words Words Words (Traverse Theatre), Stage to Page, Tron 100 Festival and Winter Words. Her newest piece (Can This Be) Home won the New Territories Award at Prague Fringe 2018.

Michael John McCarthy Composer & Sound Designer

Kolbrún Björt Sigfúsdóttir Assistant Director

Becky Minto Designer