On the eve of their father's Yarzheit (year after death) when his headstone will be unveiled, a gathering of the Schwartzes at their old home reveals the family disintegrating. Older sister Norma (serious Sheila Stasack) hopes to keep them, the home, and their Jewish heritage going, but personal problems grab each of them much more. Brother Herb (for whom Ron Bagden wins sympathy), whose comfort involves reading the paper with his feet on an old sofa table, much to Norma's chagrin, just wants to get on with his business and life. His wife Bonnie (Morgan Rowe, who has "uptight" down pat) shares his uneasiness but glosses it over, starting with remarks about pitiful guests on "Oprah." Former astronomer Simon, glued to a telescope though almost blind, is autistic.
In a mimelike white outfit, Sheffied Chastain effectively conveys his conviction the earth as they know it will end. Why Norma's so worried about carrying out the faith of their father will be revealed: it has more meaning for her than the others. Certainly younger brother and TV commercial director Gene (handsome Patrick Zeller), while an accommodating type, couldn't care less. Still, it's he who catalyzes the action - by having had a fling with Bonnie that she wants to keep pursuing and, most importantly, by bringing in from NYC his latest squeeze Kia.
The ultimate outsider in this Jewish family home, blond bombshell Kia boasts an unstable background and no knowledge of parents. Without any beliefs, pink-and-blue clad Kia wants only to come on to everyone, "to have fun, be happy." Enjoying success as the Fat-No-More girl, she's hoping to be an actress with Gene's help - but not, she lets slip, by having his baby. Kia's role is so pivotal in bringing out everyone's truths and bringing about their decisions for the future that a lesser actress (and "looker") than Jamie Day could ruin the play. Day, however, is not only superbly dumb-blond comical and sexy but also knows just how to convey a revelation, just when her eyes should fill with pity or disappointment or recognition.
If it weren't for Kia and the abortion issue, we might not realize the play's main heroine is Bonnie and only secondarily about Norma and her efforts to keep the family old-fashioned Jewish. So well written is Kia's role, we can forgive the contrived use of Simon to give the family drama cosmic proportions. (His space-y prediction that in 5000 years there won't be any Jews left so Norma and all "should be preparing" is also too remote to be effective.) And if Gene has been able to sire a child with Kia, isn't it possible for him still to be a father in the future?
Of course, with the fast action and resolution of interfamily conflicts, most of us don't question the playwright's logic immediately. And in a production so well cast, directed, set, and lit, we may even welcome realizing later that the last Schwartz we've heard of doesn't need to be the final one, in fact or fiction.
