REVIEW: Step back in time at ‘The Dead, 1904’
Photo: The Dead, 1904 features, from left, Karen Killeen, Úna Clancy and Mary Beth Peil. Photo courtesy of Carol Rosegg / Provided by Print Shop PR with permission.
NEW YORK — When patrons head through the ornate doors of the American Irish Historical Society, located directly across the street from the Metropolitan Museum of Art, they travel back in time and across the ocean. They leave behind the buzz of New York City in 2025 and land in Dublin, circa 1904. This is where the immersive theater hit The Dead, 1904, based on James Joyce’s short story, has set up its holiday merriment until Sunday, Jan. 5.
The Dead, 1904, a production of the Irish Repertory Theatre, was a Christmastime staple for a few years in the Big Apple, but then the production took some time off. Now it’s back, with a stellar cast, good times, ghostly ruminations and scrumptious food. The two-hour experience finds audience members ascending the steps of a “Dublin” townhouse to enjoy an Epiphany celebration courtesy of two sisters, Kate Morkan (Úna Clancy) and Julia Morkan (Mary Beth Peil), who are joined by their niece, Mary Jane (Karen Killeen). They have invited over a host of interesting characters, all of whom have a story to tell. There are Gretta (Kate Baldwin), Gabriel (Christopher Innvar), Bartell D’Arcy (Michael Kuhn), Mr. Browne (Michael Mellamphy), Molly Ivors (Aedín Moloney), Lily (Jodie Sweeney), Freddy Malins (Gary Troy), Miss Daly (Heather Bixler) and Mrs. Malins (Terry Donnelly).
The specifics of the evening are best kept a secret, but here are a few hints of what happens over the course of these two hours. After ascending the grand stairs of the townhouse, visitors participate in some jolly imbibing, singing and dancing. The first part of the show is quite the Christmas celebration, with glasses of whiskey and sherry being freely served. This is the time when audience members should explore the theatrical space because there are a few rooms in the sisters’ house that beg further inspection.
The meal follows in the main dining room. Ticket buyers have three options: the exclusive seats at the main table with the cast, the dinner seats that ring the walls of the room or the more reasonably priced non-food seats, which allow a seat in a spectator chair. While patrons enjoy some carved meat, string beans, mashed potatoes and cranberry sauce, the play continues, melding together a written script (adapted by Paul Muldoon and Jean Hanff Korelitz) and improvisation with the audience members.
The final sequence of the night is heartwarming and heartbreaking, and shall not be ruined here.
The Dead, 1904, directed by Ciarán O’Reilly with choreography by Barry McNabb, is one of the best holiday offerings in a city chockfull of them. Nothing against The Nutcracker at the New York City Ballet or The Magic Flute at the Metropolitan Opera. No disrespect to the Rockettes or Elf on Broadway. Those are all quality entertainment shows, which are particularly geared toward families with young children. The Dead, 1904, presented by Dot Dot Productions in association with the American Irish Historical Society, is an evening of merriment and thoughtfulness intended for adult theatergoers, the ones in the family who love literature, community and the meaningfulness of the New Year.
By John Soltes / Publisher / John@HollywoodSoapbox.com
The Dead, 1904, directed by Ciarán O’Reilly and based on the short story by James Joyce, continues through Sunday, Jan. 5, at the American Irish Historical Society in New York City. Running time: two hours with no intermission. Click here for more information and tickets.
