By Conor Kelly O’Brien, Director & Playwright 

Rehearsals for Ulysses of Scranton have officially begun. 

There is a spark you feel when something is going to be really good… that intangible electricity that only happens when the right people find themselves in the right room at the right time. You can’t force it. And yet — here we are — and I know we’ve found it. Though I am the playwright, I specifically crafted this process – alongside two amazing stage managers (Giuseppina Corcoran-Michaels and Madelyn Rex) – to allow time for everyone – cast and crew alike – to contribute, expand, and punch-up my adaptation with their unique talents. This quasi-devised theatre process has been a joy to engage with – even at this early stage. 

This play is lovingly inspired by the classic novel Ulysses by James Joyce, told through a very specific Northeastern Pennsylvania lens. Our first unveiling will be at The Ritz Theater, as part of the 2025 Scranton Fringe Festival, on October 2nd. Then, just a few weeks later, we pack our scripts, our costumes, and our excitement for an international journey to the Ballina Arts Centre in County Mayo, Ireland — Scranton’s sister city — to share this new work with audiences across the Atlantic. Ballina Arts Centre will reciprocate this exchange by sending a dynamic musical act from County Mayo to Scranton in spring of 2026 (more on that later this year). 

The incredible cast of Ulysses of Scranton includes Simone Daniel, Colin Holmes, Conor McGuigan, Kimmie Leff, and Madny-Boyle Pennington. 

Adapting (to) the impossible 

I don’t just want to gush about this hardworking and talented team — and I will, believe me, in the weeks to come — but I want to talk a bit about what it means to adapt a classic work into something entirely your own.

Ulysses is a book that many find intimidating. It’s dense, strange, and sprawling. But to me, that’s exactly what makes it perfect for adaptation. As I did my research I kept coming across the same refrain – this novel is impossible to adapt. This struck me as a fantastic opportunity – if there is no “right” way to tell this story, then I can’t exactly screw it up (at least, not too badly). 

Through this NEPA lens, Ulysses of Scranton becomes a story about familiar streets, our own cultural quirks, and the way local voices can hold universal truths. I love that, in adapting it, I get to keep the heartbeat of the original while letting our own regional character shape the storytelling.

Being a Playwright in America (and Why It Matters)

I’m very, very lucky that a decent portion of my yearly earnings comes from being a working playwright in the U.S. — something that is, frankly, terrifyingly rare. Without minimizing the tremendous regional support Ulysses of Scranton (and our overseas exchange with County Mayo) has received, I have to be honest: if it weren’t for funding from sources in Ireland, this project simply would not be happening.

I wish playwright funding in this country were multiplied a thousandfold — at least. It would probably shock you how little even some of your favorite, award-winning Broadway writers actually take home. Playwrights are the foundation of this living, breathing art form, yet they’re often the least financially supported.

If any fellow writers ever want to talk specifics about the financial side of this industry, I’m always happy to have that conversation. It’s not about complaining — it’s about transparency. Because the truth is, it’s hard. Really hard.

Over the years, I’ve received a few grants to write original works, several commissions to adapt or refine scripts, and of course, I’ve self-produced my own plays — knocking on every door I could until something opened.

Why Investing in Playwrights Is an Investment in Your Community

AI will never be able to tell our stories the way we can. Our communities — local, national, and international — need to empower their storytellers now.

• Nonprofits (even outside the arts): Imagine the impact of having a resident playwright on staff for a year, shaping productions that tell your mission’s story and lift up the voices of those you serve.
• Banks & Businesses: $50,000 — in Northeast PA terms — could (in part) fund at least five playwrights for a year, giving them the time to write, stage live readings, and even mount one or two small productions with paid stipends for everyone involved.
• Tourism & Economic Development: The arts aren’t just good for the soul; they’re a smart investment. They make up a substantial share of the national GDP. A thriving arts scene attracts visitors, keeps residents engaged, and strengthens a city’s cultural identity.

Investing in playwrights means investing in the stories that help shape how a community sees itself — and how it is seen by the wider world.

The Joy (and Responsibility) of This Work

I’ll step down from my soapbox for now and just say this: I am in awe of this cast and creative team. Even in our very first full rehearsal, there’s a rhythm, a generosity, and a shared vision that makes me believe we’re building something special.

It’s humbling to direct a play I’ve also written. I’m guiding the ship as a captain while also being the person who designed the blueprints for the vessel. That means I feel every choice, every pause, and every laugh in a deeply personal way. It also means I have the responsibility to step back, listen to my collaborators, and let the work grow beyond my own imagination.

There’s something magical about watching a moment I wrote — alone in a coffee shop or late at night on my couch — suddenly come to life in the voice and body of another human being. That alchemy never gets old.

Join Us for Opening Night

Please, please, please try to join us for our world premiere on Thursday, October 2nd at 7:30 PM at The Ritz Theater. There’s nothing quite like an opening night — the nervous energy, the shared anticipation, the lights going down for the very first time on a new story.

Tickets available via this site – just click here! 

This will be just the first in a series of behind-the-scenes updates on Ulysses of Scranton. Over the next several weeks, I’ll share more about our rehearsal process, our creative inspirations, and the journey that will eventually take us all the way to Ireland.

I also encourage you to keep checking back on the Scranton Fringe website for future blog posts — not just from me, but from a whole range of guest writers, artists, and collaborators sharing their own unique perspectives.