NY Review: 'Himself and Nora'

In attempting to tell the tale of James Joyce and Nora Barnacle, Jonathan Brielle has set himself quite a task. Putting any famous writer onstage is asking for trouble, and in the case of a wordsmith of Joyce's talent, the challenge is even greater. Brielle has bravely written the book, music, and lyrics of this trim new musical, using just a cast of five performers. Although James was one of the most experimental of writers, Brielle has chosen the conventional method of straightforward biography to delineate what is essentially a tug-of-war love story. Within these confines, he creates a show that is alive with intelligence and colorful tunes. Naturally enough, while telling in musical terms of the lives and relationship of such a complex pair, many short cuts are taken. But we are still left with a biographical fable that is economic, perceptive, and imaginatively rendered by a first-rate cast. Better yet, much of it is told in song.

We begin with the romantic meeting of struggling writer Joyce (Matt Bogart) and chambermaid Nora (Jessica Burrows). They almost immediately become intimate and sing of it in "Compatriots in Lust." In a protest against the Catholic Church, Joyce refuses to marry, and the pair begins exile in Europe. (One of Brielle's best ideas is to have a priest ever lurking in many scenes and even adding comments in song.) In Trieste, for survival Joyce gives English lessons to the Italians, teaching them in the rousing Irish jig "River Liffey," which lists the rivers of Ireland. Joyce tries to write while drinking too much, and it is Nora who keeps the family together, one that now includes two children, Giorgio and Lucia. Their saviors are Ezra Pound (David Arthur) and Harriet Weaver (J.B. Wing), who bankroll the Joyces' move to Paris.

The second act begins with the publication by Silvia Beach (Wing) of "Ulysses," and James gains a moustache, a cane, and a bout of egomania, cleverly celebrated in the song "The Grand Himself." The children (Wing and Brian Sills) are introduced, with their sad fates briefly touched upon. Nora finally has had enough and leaves, only returning when the bereft and ill Joyce finally offers marriage. The finale is Joyce's wake, in which a lively if ghostly Joyce participates.

A principal theme is that of Nora as not only Joyce's muse but also the source of much of his multicolored wording. For the love songs, Brielle favors the thumping anthem form, sometimes with heavy drum accompaniment, and though Burrows in particular delivers these with great skill, something a little more wistful would have been more suitable. I'm afraid the phrase "scream of consciousness" came to mind.

Michael Bush's direction is firm throughout and especially imaginative in the musical sequences. While Bogart is a handsomer version of the original, he is totally convincing as Joyce—well, Joyce as a vibrant singing actor. Burrow's Nora has to carry the emotional thrust of the show and does so with ease, singing with grace and power. The supporting trio, essaying several roles, works really hard. Notable are Sills' priest, Arthur's John Joyce, and Wing's Beach.

From the program we learn that the prolific Jonathan Brielle is practically an industry. With "Himself and Nora," his obvious talent is welcomed, with pleasing anticipation of his future offerings.

Presented by Tritone Productions as part of the New York Musical Theatre Festival at the Theatre at St. Clement's, 423 W. 46th St., NYC. July 11–19. Remaining performances: Sat., July 14, 9 p.m.; Sun., July 15, 3 p.m.; Mon., July 16, 5 p.m.; Thu., July 19, 1 p.m. (212) 352-3101, (866) 811-4111, or www.nymf.org. Casting by Stephanie Klapper Casting.