Ulster American
★★★★☆ Spirited
Bedlam Theatre: Thu 22 – Fri 23 Jan 2026
Review by Hugh Simpson
Ulster American, from EUTC at the Bedlam for two performances only, is an intelligently staged production of an explosive piece.
David Ireland’s play was a massive hit at the Traverse on the 2018 Fringe, and has since been staged in London and the USA with starry casts. In the more intimate setting of the chilly Bedlam, the play loses none of its ability to shock, provoke and entertain.
Dylan Kaeuper, Connie Bailie and Will Grice. Pic Emily Sharp
Self-obsessed Hollywood star Jay Conway (Dylan Kaeuper) is in London to act in a Belfast-set play directed by the avowedly liberal Leigh Carver (Will Grice). However, the arrival of writer Ruth Davenport (Connie Bailie), who is not what Jay expected, throws the ignorance of both men into sharp and terrible focus.
This is still a beautifully crafted, undeniably hard-hitting piece of theatre well deserving of all of its huge list of content warnings. Its scattergun approach to identity politics, history, the liberal consensus and many other things besides, does mean that it comes over as a trifle unfocused and probably slightly too long. However, it is always saved by its refusal to take itself too seriously.
a relentless, scabrous quality
This may be a play partly about making a play, but there is nothing cosy or self-referential about it. The whole business of theatre comes under attack, with actors, directors, writers, audiences and critics all getting it in the neck. Ireland even has some apparent sideswipes at his own career and preoccupations.
All of this needs a relentless, scabrous quality to sustain it, and the cast and director Emily Sharp certainly provide this. There is a momentum and energy to the direction that is extremely successful, while the performances are full of vitality.
Will Grice, Connie Bailie and Dylan Kaeuper. Pic Emily Sharp
Kaeuper’s Hollywood star is spirited and constantly on the move; something that can also be said for Grice’s director, who seems liable literally to twist himself into knots as he tries to justify himself. Bailie’s portrayal of the writer, meanwhile, is simply superb, a wonderfully considered and animated performance grounding the whole thing and giving it believability.
The play’s denouement presents a particular challenge in a venue like the Bedlam, with a comparatively inexperienced cast, limited resources and the audience in very close proximity. It is therefore to the great credit of the cast and director (not to mention fight co-ordinator Františka Vosátková) that it succeeds almost completely.
considerable impact
Not everything is such a success. There is the occasional hint of playing to the gallery from Kaeuper in particular. He and Grice are guilty of straining a little too hard for laughs, when they are clearly talented enough actors not to need to do so. The two male characters are so cartoonish already, that any further exaggeration does risk the play tipping over into melodrama too soon.
The sturdy set also strikes an odd note, being very old-fashioned and more appropriate for a 20th-century farce or whodunnit.
Overall, however, this is a production of dynamism and considerable impact.
Running time: One hour and 25 minutes (no interval)
Bedlam Theatre, 11B Bristo Place, EH1 1EZ
Thursday 22 – Friday 23 January 2026
Daily at 7.30 pm
Tickets and details: Book here.
Bedlam website: bedlamtheatre.co.uk
Instagram: @eutcbedlamtheatre
Linktree: @eutcbedlamtheatre
Dylan Kaeuper and Connie Bailie. Pic Emily Sharp
ENDS
