By: Darryl Reilly
Everything — if it can be kissed.
This stone, for instance. It is so cool, so polished, so delicate, like a woman’s temple. And what is a woman? A work of nature, too, like, a stone or a flower or a bird.
And so, I kiss it because it is beautiful. A kiss is an act of homage.
James Joyce’s sole play Exiles is a jaunty, thoughtful and forward examination of free love among two Irish couples in 1912. Inspired by Ibsen and containing eloquent Shavian touches, Joyce infuses his full-blooded, ostensibly autobiographical scenario with his characteristic earthiness, wit and profundity. This scintillating revival is presented by the New York City-based Off-Broadway troupe, The MAP Theater. It joyously reveals that Exiles is a viable and important work of dramatic literature, and not merely a seldom performed literary curio.
Former academic and writer, Richard has returned to Ireland after nine years abroad with his common law, lower-class wife Bertha, whom he scandalously ran off with, and their eight-year-old son. They reconnect with Richard’s best friend, the academic Robert and his wife Beatrice. Each of these men and women have strong amorous feelings for their counterparts, will they act on them?
Offering a captivating portrait of Joycean sensuality is the magnetic Layla Khoshnoudi as Bertha. Wearing a slinky, flower-patterned black dress, moving with allure and speaking with soaring range, Ms. Khoshnoudi supremely conveys Joyce’s sensibility, especially when holding forth on male hypocrisy regarding sex. With the booming stage presence of a practiced classical actor, the tall, lean and animated Rodd Cyrus is enthralling as the lusty and romantic Robert. Mr. Cyrus’ mellifluous voice and lightly bearded, expressive face all inform his robust characterization. Khoshnoudi and. Cyrus’ intense rapport is integral.
Bespectacled, and commandingly veering from softspoken to eruptive, is the charismatic Jeffrey Omura as the bookish Richard. Mr. Omura is delightfully nonchalant when listening to Khoshnoudi’s carnal confessions. Sunny Violeta Picayo is marvelously down to earth as the sedate Beatrice. Uproariously alternating between the roles of an old maid and the young son with gusto, often via quick changes, is the bubbly Mattie Tindall.
Zachary Elkind’s faithful adaptation of this three-act work runs for a charged, straight through 90 minutes. Mr. Elkind’s auteurist direction is a glorious exhibition of ingenious stagecraft. Exiles is performed runway style, with the audience seated on opposite sides of the long rectangular playing area, enabling intimate exchanges between the fearless ensemble to resonate even further. Elkind’s use of contemporary music and bold presentational flourishes achieve a modern dimension without compromising the specificity of the play’s time period.
Scenic designer Cate McCrea’s smart minimalism has the stage bookended by gauzy curtains, and the playing area sparingly set with key furnishings, creating an airy landscape for the actors, and allowing for swift scene transitions to differing locales. Amara Payton McNeil’s exquisite lighting design vigorously varies, aesthetically complementing the actions. Costume designer Alyssa Korol vividly clothes the cast in a clever blend of the past and present.
Exiles has not had many productions around the world since its 1918 publication. Notable, was Harold Pinter’s 1970 direction of one in London. It reportedly influenced his 1978 masterpiece, Betrayal which is about a romantic triangle among two male friends. This incarnation is a welcome and revelatory opportunity to experience James Joyce’s theatrical vision.
Exiles (through Mar 15, 2025)
The MAP Theater
A.R.T./New York Theatres, 502 West 53rd Street, in Manhattan
For tickets, visit www.themaptheater.com
Running time: 90 minutes with no intermission