
Photo by Thee Photo Ninja
Irish whiskey, song and passion warmed up perhaps the coldest night of the year at freeFall Theatre’s production of Himself and Nora in St. Petersburg.
The musical written by Jonathan Brielle — with the tagline, “The Greatest Love Story Never Told” — delves into the relationship between controversial Irish writer James Joyce and his muse and eventual wife, Nora Barnacle Joyce.
Opening upon the moment of James’ (Robert Teasdale) death, we meet Nora (Katie Davis), who is lamenting that he never put her first: He even had the nerve to slip away in the brief moment that she left his bedside.
From there, the narrative goes backwards to depict the couple’s lives together, 37 years in total. When they met in Dublin in 1904, Nora worked as a chambermaid in a hotel. She was lively and outspoken, and sexually assured, having more experience in that department than James.
freeFall Theatre’s Himself and Nora
Their carnal passions are fully explored in the musical, with the songs performed by James and Nora called “Kiss” and “Compatriots in Lust,” and one of the longest smooches ever seen on stage. Davis and Teasdale have the chemistry to make them believable as a passionate couple. (Note that this production has very adult themes and is not suitable for children.)
Davis is captivating as the fiery Nora, who despite not being educated is extremely bright and witty. Teasdale brings all the angst, guilt and drunken ire to James. Their relationship as artist and muse results in James’ influential masterpiece, Ulysses, which he set the day he met Nora, who is the inspiration for the character Molly Bloom.

Photo by Thee Photo Ninja
For all their lust romance, they just as easily trade barbs, with Nora’s tongue just as sharp as James’. It’s a colorful portrayal of an intellectual couple navigating a changing world.
We follow the couple in self-imposed exile, as they leave Ireland and move to Trieste, Paris and Zurich. We meet literary figures Ezra Pound (Michael Gregory), the critic who championed James’ work and Sylvia Beach (Julia Rifino), the publisher who took a chance on him. Rifino also plays Harriet Weaver, one of James’ patrons.
Drew H. Wells plays the Priest, a metaphorical figure who follows James around as a symbol of the guilt he feels over his odds with the Roman Catholic Church.
“I’m always here,” he says.
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Directed by Eric Davis, the production and casting are top-notch. As always, the theater has been reconfigured in a clever maximization of space. The set design by Hansen Scenic effectively uses a palette of rich wood upon which projections of portraits of the real figures and text are projected. A screen in the set becomes a window and a hellscape thanks to streamed video.
The band, led by musical director Michael Raabe plays right on the stage, yet is unobtrusive to the action. They play pleasant, toe-tapping tunes laced with the enchanting sounds of the flute and clarinet. The music softly accompanies the actor’s stellar voices.
Costumes — which are the vision of Eric Davis — reflect the era. Since the play takes place from 1904-1941, they are a trip through some of the best of early 20th century fashion history.
And history is always interesting when it’s told through an artful lens. Perhaps the most effective part of Himself and Nora is its lasting impression. You might find yourself inspired to read more about these real characters.
See Himself and Nora at freeFall Theatre
freeFall Theatre, 6099 Central Ave., St. Petersburg. Through March 8. $55, $25 youth. 727-498-5205, freefalltheatre.com.
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