2017 GETTING UP JAMES JOYCE'S NOSE
THE MELBA SPIEGELTENT, JOHNSTON ST., COLLINGWOOD
Director Wayne Pearn
Leopold Bloom Silas James
James Joyce Steve Gome
Molly and Others Christina Costigan
Nose Steven Dawson
Blazes Boylan, Stephen Dedalus and others Matt Dorning
THE TATTY TENORS
Ted Chapman (Piano)
Lighting Stelios Karagiannis
Set Design George Tranter and Ian Green
Stage Manager Ness Harwood
Joyce boasted that one could reconstruct Dublin from the pages of his masterpiece, but could you also experience how Dublin smelt?
Joyce’s exuberantly experimental novel questions the pleasures not only of aromatic smells but ones that society deems unpalatable and disgusting; it asks about the link between what we eat and how we smell; it raises questions about class (good food and bad; good neighbourhoods and bad); it goes to the question familiar to readers since Proust, of how some smells take one undeviatingly to strong emotions and significant places of the past; its smells also raise questions of identity and place. But most significantly for Joyce, the question of smell buys into to debates about the body and human sexuality that were intellectually cutting-edge in medicine and psychology in the period in which he was writing.
Wayne Pearn's imaginative production, set in a Victorian circus tent, with Molly on an erotic high-wire, took its design ideas from steam-punk with Joyce as the cartographer and Bloom on a journey of exploration of the smelly and arousing world of Dublin 1904. Molly Bloom in this scenario is his muse and agent provocateur. The vaudeville note, struck by the Tatty Tenors and the commedia-inspired Nose, ensured that Joyce's comedy was full frontal.
REVIEWS OF GETTING UP JAMES JOYCE'S NOSE
Ulysses is famously an exposition and celebration of the five senses. Rarely in literature had the sensory, sensual nature of all human experience been given such constant immediacy in a novel. The sight, sound, feel, and taste of Dublin is worded up on every page. But of all the precious five, smell is the most challenging to turn effectively into words.
Handed such a whiffy text, director Wayne Pearn took a deep breath and turned it into a play piece of encaptivating ingenuity.
WHAT DID OUR PATRONS HAVE TO SAY?
93% rated it good, very good, or excellent, and 56% rated it excellent. Here's snippets of their comments:
“Very good concept and script, very good casting and staging, and excellent performances.”
“Fabulous production – the abridged text captured the spirit & exuberance of Joyce's novel and language.”
“The production was very clever, while remaining true to Joyce's thoughts and words. This was an excellent show and a very fitting culmination to the Bloomsday celebrations.”
“Inventive, engaging, superb performance.”
Bloomsday's New Patron, Barry Jones AO
and Theatre Director, Wayne Pearn
BLOOMSDAY 2017 SEMINAR: SMELL IN JOYCE
Seminar Chair & Patron of Bloomsday in Melbourne