Donald Margulies has given us some really great theater. My two favorites are Dinner with Friends and Collected Stories. The current offering of San Diego Repertory Theater is his Brooklyn Boy, under the direction of Todd Salovey. The latter's direction is flawless. He uses pauses—sometimes very, very long pauses—much better than most playwrights use words. His grasp of the material: the humor, the pathos, and the high emotions, is intuitive. The Rep changed The Space into an arena theater for the piece, which opens in a hospital room of Eric Weiss' (James Newcomb) father, Manny (Robert Levine). The room is electric with the tension between father and son. Author Eric has finally hit the best-seller list with his third novel, "Brooklyn Boy." Manny is close to death from cancer. In the hospital cafeteria, we meet Ira Zimmer (Matthew Henderson), who shared his Bar Mitzvah with Eric. While Eric abandoned his religion, Ira was totally religious. Lastly, in his former home, we meet Eric's soon-to-be-ex-wife, Nina (Deborah Van Valkenburgh). Margulies is doing what he does best: writing about relationships. At a book signing in L.A., Eric ends up with longlegged, blond, writer groupie, Alison (Christy Yael), half his age, in his hotel room. Will he or won't he? The last new relationship is with Paramount film producer, Melanie (Van Valkenburgh) and young blond film star Tyler Shaw (Andrew Kennedy). It is a totally stereotypical scene of author versus film company. They, of course, require some changes to the story, like pulling out some of the Jewishness of a Jewish story.
The acting throughout is excellent. As Eric meets each of the major players in his life, his interactions are believable. Newcomb handles the varying relationships with father, friend, wife, groupie, Hollywood producer and Hollywood actor believably. Levine exudes the love Manny had for Eric in language that is not loving. We've probably all met people like Henderson's Ira who try to foist their personal beliefs on us. Valkenburgh convinces in both her roles: as the wife in a failed marriage loaded with both good and bad memories and as a high pressure producer who will always get her way. Yael and Kennedy, for their short moments on stage, show the vagaries of their characters nicely. Giulio Cesare Perrone's set design is interesting. With just a few set pieces, some variances in the stage, flying in of a clear screen or a record player, we are transported into a new location. This is enhanced by Jennifer Setlow's lighting design. Rachel Le Vine's sound design is flawless. Costume designer Paloma H. Young totally defines the characters: Eric tie-less and in a sweater, Ira a bit unkempt, Nina in black with very high heals, Melanie glitzy, Alison in very short shorts, and Tyler totally Hollywood. As I look back on this theater experience, it is déjà vu all over again. The whole first act feels like a repeat of some of Margulies's earlier works, with a touch of Neil Simon, and most other Jewish playwrights. The discomfort in the scene of Eric and Nina is old news. I've seen the hotel scene before. The Paramount producer's office has been done so many times, I wanted to scream, "Enough is enough." Still, the play is saved by some very good characterizations by the actors.
Opened:
February 9, 2007
Ended:
March 4, 2007
Country:
USA
State:
California
City:
San Diego
Company/Producers:
San Diego Repertory Theater
Theater Type:
Regional
Theater:
Lyceum
Theater Address:
Horton Plaza
Phone:
(619) 544-1000
Running Time:
2 hrs, 15 min
Genre:
Drama
Director:
Todd Salovey
Review:
Parental:
profanity
Cast:
James Newcomb, Robert Levine, Matthew Henerson, Deborah Van Valkenburgh, Christy Yael, Andrew Kennedy
Technical:
Set: Giulio Cesare Perrone; Costumes: Paloma H. Young; Lighting: Jennifer Setlow, Sound: Rachel Le Vine; Dramaturg: Eric Bowling; Stage Manager: Angie Kamel
Critic:
Robert Hitchcox
Date Reviewed:
February 2007
