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Who's afraid of  James Joyce? Elevator Repair Service takes a tour of ‘Ulysses'

Who's afraid of James Joyce? Elevator Repair Service takes a tour of ‘Ulysses'

'Ulysses' may not be James Joyce's most difficult novel. That distinction would have to go to 'Finnegans Wake,' a book that has been described as unreadable even by its most fervent admirers. But 'Ulysses,' the modernist novel that changed the course of 20th century literature, is notoriously demanding.
The book bested me when I first gave it a go in my student days. I expected to sprint through 'Ulysses' in a couple of weeks but found myself running uphill in a race I feared might never end. I finally did make it to the finish line, panting and red-faced. But I knew Joyce and I would have to have another rendezvous when I wasn't in such a rush to check a canonical box.
It took more than 35 years for that reunion to happen. The book came back on my radar because Elevator Repair Service, the offbeat New York performance troupe best known for 'Gatz,' a marathon rendering of F. Scott Fitzgerald's 'The Great Gatsby,' was coming to town with its stage version of 'Ulysses.' (The production, presented by Center for the Art of Performance, had a brief run last weekend at UCLA Little Theater.)
But something else was drawing me back to Joyce, a need to breathe purer air. I could spend my free time doomscrolling, or I could challenge myself to a higher pleasure.
This time around I imposed no deadline. I would read 'Ulysses' for the sheer pleasure of reading. It didn't take long to be reminded that pleasure isn't necessarily pain-free. I struggled past the roadblocks, cursing at what I took to be Joyce's willful obscurity as I consulted Terence Killeen's 'Ulysses Unbound,' a user-friendly reader's guide, as well as myriad online resources, including Google Translate to contend with the polyglot author's staggering range.
I extemporized a program of reading a chapter on my own and then listening to it via the excellent RTÉ recordings of 'Ulysses' (available as a podcast) that bring to life the novel's symphony of voices. The exhilaration I came to experience entailed a fair amount of exasperation. The exertion that was required seemed to belong to a pre-internet age.
Joyce, allergic to exposition, plunges the reader into sink-or-swim situations. The architecture of the book follows the plan of Homer's 'Odyssey.' Leopold Bloom is the unlikely modern-day Ulysses (Odysseus' Latin name), a newspaper ad salesman with an adulterous wife who is making his circuitous way home to see what remains after his tactical daylong absence. Stephen Dedalus, Joyce's alter ego from 'A Portrait of the Artist as a Young Man,' is thrust into the role of Telemachus, Odysseus' son, recast as a lofty aesthete grieving the death of his mother while keeping his distance from his overbearing, dissolute father.
Into this complex scheme, Joyce incorporates all sorts of radical literary experiments. The most important of these is the stream of consciousness technique that's developed in ways that had never been attempted before. Joyce tunes into the inner musings of his characters as easily as he samples the collective consciousness, past and present. The novel, Edmund Wilson writes in his super-lucid chapter on Joyce in 'Axel's Castle,' moves from the ripest naturalism, awash in bodily secretions and pungent smells, to the most feverish symbolism, where dream logic liquefies objective reality.
What I derived from the novel in my late 50s is not what I took away in my 20s. I was amused at what I had underlined as an overeager student, always on the lookout for the explanatory phrase. But I'm sure in time my latest markings in the book, like photos of an old hairstyle, will also elicit an eye roll. A literary work as dense as 'Ulysses' can't help but serve as a mirror of one's mental life.
My experience of this ERS production is unique to the moment of my encounter. Had I not just cohabited with 'Ulysses' for the last month, I no doubt would have spent the intermission reading chapter summaries on my phone to get a deeper understanding of the story.
I was relieved that this version of 'Ulysses' wasn't an eight-hour affair like 'Gatz,' which offered the complete text of 'The Great Gatsby.' (Joyce's novel would take at least 24 hours to read aloud, or all of Bloomsday, the annual celebration of the author.) The novel's 18 chapters are served cafeteria-style, a little from this section, a little from that, to provide an overview of the main action.
The focus is on Bloom's wanderings through Dublin on June 16, 1904, the day his wife, Molly, a noted singer, begins an affair with a professional colleague named Blazes Boylan. Subsidiary but no less integral is Stephen's crisscrossing path through the city. When these displaced, grief-laden men lingeringly intersect late in the novel, nothing really changes in terms of the plot but everything changes in terms of the book's spiritual design.
In the intimate confines of Macgowan Hall's Little Theater, seven actors took their seats at conference tables lined up for what looked like a panel discussion. An institutional clock kept track of the fictional time of day. Scott Shepherd, an ERS mainstay who was not only part of the ensemble but also co-directed with John Collins and served as dramaturg, introduced the proceedings in an impishly folksy manner reminiscent of the Stage Manager in Thornton Wilder's 'Our Town.'
He explained that the text would be fast-forwarded regularly. When this happened, the sound of a screeching tape catapulted the company to another passage in the book. Joyce's words rang out mellifluously at the start of the production, but as the main characters emerged from the reading, some of the musicality of the writing was lost.
ERS doesn't traffic in emotional realism or literal re-creation. The company's aesthetic mode is wayward, oblique, loose and jocular. In 'Gatz,' the novel's narrative texture was conveyed through zany approximation — the troupe finding Fitzgerald not by effacing itself but by embracing its eccentric difference.
The same eventually happened here, but I had to resign myself to what was missing.
What I find irresistible about 'Ulysses' is the clarity with which the interior lives of Stephen and Bloom come into view. Amid all the rhetorical puzzles and literary pyrotechnics, these characters reveal to us their longings and insecurities, their preoccupations and rationalizations, their alienation and sociability — in short, their souls or, as Bloom more scientifically defines this mystical human substance, 'gray matter.'
Hamlet-figures dressed in inky black, they are both processing loss. Bloom, whose day's journey takes him to the funeral of a friend, is still mourning his son, Rudy, who died shortly after birth. Stephen, called back from Paris as his mother was dying, is tormented a year later by his refusal to pray over her as she entreated him to do.
Estranged in different ways — Bloom as a Jew (with a wife with a loose reputation) and Stephen as a freethinking young artist in Catholic Ireland — they have complementary needs. Bloom to love and to pass on some of what he has learned, Stephen to become secure and stable enough to realize his enormous potential.
On stage, Stephen (Christopher-Rashee Stevenson), wearing the suit jacket and short trousers of a schoolboy prince of Denmark, was a strangely recessive presence. Stevenson seemed to deliberately deflect attention from Stephen's words, mumbling lines as though they were the character's private property and not meant to be spoken aloud. (A defensible literary interpretation but a theatrically deadening one.) Stevenson actually created a more vivid impression in his brief appearance as Bloom's cat.
Vin Knight was more dynamic as Bloom, the adaptation's clear protagonist. Costume designer Enver Chakartash dressed the character, described at one point in the book as a 'new womanly man,' in a mourning jacket and complicated skirt, with green socks adding a fey accent to the gender-fluid ensemble. Knight found the gravity of the pragmatic, rational Bloom while preserving his essential nimbleness.
The surrogate father-son flirtation between Stephen and Bloom accumulated power more through the staging than through acting. Scenically, the narrative built as it proceeded. The conference tables were imaginatively reconfigured by the design collective dots for the surreal brothel scene, and the lighting of Marika Kent made wild magic without disrupting the minimalist scheme.
The production was somewhat more adept in telling than showing. (Stephanie Weeks, Dee Beasnael and Kate Benson, in addition to playing numerous supporting characters, helped keep the narration smoothly on track.)
I wish everyone had Shepherd's command of the company's house style. His cameos as Blazes Boylan, jitterbugging across the stage with the self-satisfied air of a country rake, were not just enlivening but renewing, capturing the character in a new idiom.
Maggie Hoffman delivered Molly's stream of erotic consciousness that ends the novel with just the right touch of unabashed earthiness. If I hadn't recently listened to the brilliant rendition of Pegg Monahan in the RTÉ Broadcast, I might not have missed the ferocious Irish lilt that animates the animal lusts and petty grievances of Joyce's character.
I should confess that I turned to the novel as an escape from my disgust with our political situation. But politics runs through the book. Ireland is under brutal colonial rule, and partisan conflict is as inescapable as religious strife.
But Stephen and Bloom don't want to be dominated by ideology. Stephen resists having his intellectual freedom ensnared by patriotic sanctimony: 'Let my country die for me,' he drunkenly tells a British soldier.
Bloom contends that 'Force, hatred, history, all that' are 'not life for men and women, insult and hatred.' It's the opposite of these things 'that is really life,' by which he means 'love.'
Joyce gives us this insight in a book that understands that it's no more possible to dismiss politics than it is to do away with the demands of the body. We exist in concentric realms, and our multifarious lives can only be lived. The same is true for art. There are things I wanted from this stage production that I didn't get. But there were unexpected rewards, and my view of 'Ulysses' expanded.
We must make room on the bed of life and say, as Molly does in the book's last word: 'Yes.'

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Summer fun at no cost: Eight free things to do in Montgomery
Summer fun at no cost: Eight free things to do in Montgomery

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Summer fun at no cost: Eight free things to do in Montgomery

Does the idea of a fun day out and about sound great, right up until it hits your wallet? Worry not. The Montgomery Advertiser is offering eight free or cheap fun things for adults to do in the Montgomery area this summer. Where: 1 Museum Drive Hours: Open Tuesday-Sunday, 10 a.m.-5 p.m. Info: The Montgomery Museum of Fine Arts, located in Blount Cultural Park, is absolutely free to get in and view a variety of masterpieces — though they'll gladly accept a donation. The museum's permanent collection includes 19th- and 20th-century American paintings and sculptures, Southern regional art, Old Master prints and decorative arts. The museum offers tours, has a cafe, and frequently hosts live performances. Summer months ahead include several workshops and camps. Online: Contact: 334-625-4333 More: Summer festivals & fun in Montgomery that you've got to experience While you're at MMFA, there's a gorgeous spot to enjoy a picnic lunch outdoor in the John and Joyce Caddell Sculpture Garden. Blount Cultural Park, including the area around nearby Alabama Shakespeare Festival, is also bursting with scenic picnic opportunities. There are many more beautiful locations across the city as well where it's free to set up and enjoy a meal. You can see a big list of park areas online at Montgomery is just packed with outdoor art displays, many of which reflect the people and history of the city. One must-see is the Civil Rights Memorial, a granite fountain with the names of people who were killed during the Civil Rights Movement. It's in downtown Montgomery at 400 Washington Ave. There are at least 24 murals to be seen downtown, midtown, and on the west side. A map to them is available at There are statues across the city, including life size versions of Hank Williams, Rosa Parks, and many more. If nature's your thing, Montgomery has. lot to offer on walking trails. There are at least 22 trails available to walkers in Montgomery's public parks. You can find them online at Another amazing venue for this is Montgomery Whitewater. It's free to visit, and has multi-use trails set up for walking, running, and mountain biking. On the not-free side, if you want, you can book whitewater rafting adventures there or take to the trees in the ropes and zipline course. See more online at More: Summer pool hours: Splash pads and swimming spots in the Montgomery area Country legend Hank Williams was a young man on Montgomery's streets. He died at age 29 on New Year's Day 1953 in the back seat of his 1952 Cadillac while headed from Tennessee to a scheduled concert in Canton, Ohio. His all-too-short life created a legacy of country western music. The city will celebrate what would have been Hank's 102nd birthday this summer with a music celebration on Sept. 13, 3 p.m. at the Davis Theatre, 251 Montgomery St. Tickets are on sale through the Hank Williams Museum — $35 for general admission, and $45 for VIP. Hank Williams Museum, 118 Commerce St.: This museum is dedicated to all things Hank, and along with a lot of memorabilia and imagery, it even has his blue Cadillac. You do have to get tickets to get in here: $15 for ages 18 and up, $5 for ages 15-17, $3 for ages 5-14, and ages 4 and younger are free. But Montgomery is full of places you can visit to see where and how Hank lived — and most are free to go look at. How many places can you visit in a day? Hank Williams statue, 216 Commerce St.: The 6-foot-2 bronze statue of Hank Williams stands at the intersection with Tallapoosa Street in front of the tunnel to Riverfront Park. Empire Theater, 234 Montgomery St.: This is where a young Hank won a singing contest in 1937. The Empire is gone, and the Rosa Park Library and Museum sits where the theater once stood. 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Pippa Scott, Actress in ‘The Searchers' and ‘Auntie Mame,' Dies at 90
Pippa Scott, Actress in ‘The Searchers' and ‘Auntie Mame,' Dies at 90

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Pippa Scott, Actress in ‘The Searchers' and ‘Auntie Mame,' Dies at 90

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‘She's got tunnel vision': Wendi McLendon-Covey reveals what she loves most about her character Joyce on ‘St. Denis Medical'
‘She's got tunnel vision': Wendi McLendon-Covey reveals what she loves most about her character Joyce on ‘St. Denis Medical'

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‘She's got tunnel vision': Wendi McLendon-Covey reveals what she loves most about her character Joyce on ‘St. Denis Medical'

'It was, like, four hours after we were canceled, and that's no joke.' That's how long it took for Wendi McLendon-Covey to receive the first script for St. Denis Medical after the demise of her long-running comedy The Goldbergs. As the actress tells Gold Derby, she read the pilot with no expectation of making a series commitment, but she says she became hooked because her character, Joyce, is 'such an oddball and reminded me of so many women supervisors that I had working other jobs.' The transition from one show to another did prove challenging, though, as she shot the first episode of the NBC medical mockumentary while promoting the series finale of her family sitcom and felt like she was 'cheating' on her television family. (Watch our full interview above). McLendon-Covey's character is at the center of the St. Denis Medical cast as the top hospital administrator who tries to motivate the doctors, nurses, and staff of her regional medical center in her quest to make it a destination hospital. Although the character comes across as an 'oddball,' the actress stresses that 'she's not an idiot. She's an accomplished woman who is a doctor.' The television vet crafted a backstory to explain her character's offscreen journey, sharing, 'In my mind, she became an administrator because she got tired of being told how to practice medicine.' But now, instead of battling with insurance companies over patient care, all she does now is 'beg for money all day.' The actress describes this as the 'delicious line' she gets to walk. More from GoldDerby Michelle Williams on 'Dying for Sex,' finding the perfect role and embracing pleasure: 'Can you leave shame at the door?' Marlon Wayans on laughing through tragedy in 'Good Grief' and why social media has made comedy 'toxic' Tony Talk: Dissecting those shocking wins for 'Purpose,' Nicole Scherzinger, Darren Criss, and full show analysis SEE 'I know this dude!': David Alan Grier explains why he leapt at the chance to play a 'burned-out' doctor on 'St. Denis Medical' McLendon-Covey stars in the series alongside Emmy Award nominee Allison Tolman and Tony Award winner David Alan Grier. While those performers have 'proven track records,' the Emmy-nominated Reno 911! star has been equally impressed with the cast members who she didn't know prior to joining St. Denis. 'When I watch Mekki Leeper, dear God, just take me out, turn the cameras off me because I'm laughing my head off,' exclaims the actress, continuing, 'Same with Josh Lawson, same with Kaliko [Kauahi], who can level me with one line delivery per episode. She knows how to get in, say her thing, steal all the focus, and get out. Kahyun [Kim], I'm so impressed with her because she learned English from watching television in her twenties. She's fantastic.' Joyce's relationship with Grier's character, the burned out doctor Ron, has emerged as one of the most pivotal in the series, as the snark they show toward one another thinly masks deeply-held respect. 'We haven't talked about it that much. We had a meeting of the minds and started playing it the same way,' the actress says of the duo's dynamic. The series has revealed that the two doctors were residents together at St. Denis decades ago, so the performer hopes Season 2 will feature a flashback to those years, confessing, 'I do want to see what they (a) looked like in the '90s, and (b) how that worked out when they were working 18-hour shifts together.' WATCH our video interview with Allison Tolman, 'St. Denis Medical' One of McLendon-Covey's best episodes from the first season, 'Listen to Your Ladybugs,' follows the hospital's awareness campaign to encourage women to get their mammograms in a timely fashion. But when Joyce gets her screening for the cameras, it turns up an inconclusive spot that needs further testing, causing Joyce to panic. 'We're just playing the reality of working in a hospital, and things turn on a dime. Sometimes you're the ones getting the bad news,' stresses the actress about why the installment works so effectively. The Bridesmaids star also reveals that Joyce's situation, in which a mammogram led to a more invasive biopsy, happened to her. Just like her character, the McLendon-Covey says, 'Mammograms suck! It is like a panini press. This is the best we can do for women? It's humiliating. It hurts. I've got a whole sermon I could preach.' McLendon-Covey most enjoyed shooting the 'big episodes' of St. Denis Medical's first season, including 'Some Famous Internet Guy,' where the hospital hosts a concert for its pediatric patients, and 'Bruce-ic and the Mus-ic,' in which Joyce helps Ron emcee a fundraising gala. The actress says she delights in the installments in which 'there's just chaos going on behind the scenes, and Joyce has to pretend like there isn't any chaos.' She also mentions 'Ho-Ho-Hollo,' the Christmas episode, which finds Joyce suddenly passionate about the hospital going viral online. 'The absurdity of Joyce getting a goal in her mind and trying to reach it … she's got tunnel vision," McLendon-Covey says, "and I like that in a character.' SIGN UP for Gold Derby's free newsletter with latest predictions Best of GoldDerby Brandon Scott Jones on CBS' 'Ghosts': 'I enjoy playing characters that are desperate' Marlon Wayans on laughing through tragedy in 'Good Grief' and why social media has made comedy 'toxic' Minha Kim 'confronted all new emotions that I had never anticipated' in Season 2 of 'Pachinko' Click here to read the full article.

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