By Patricia Morris Buckley/SDUN Theatre Critic
“Brighton Beach Memoirs”
When: Through Nov. 7
Where: Old Globe Theatre in Balboa Park
Tickets: $29-$85
Info: (619) 23-GLOBE
Web: www.TheOldGlobe.org
When something works, it’s always tempting to try it again. Sometimes, it works once more and other times it crashes and burns. In the case of the Old Globe Theatre’s production of “Brighton Beach Memoirs,” the former is true.
Earlier this year, the Old Globe opened its new Sheryl and Harvey White Theatre with a finely tuned and engaging production of Neil Simon’s Pulitzer Prize-winning comedy, “Lost in Yonkers.” That, most likely, explains why the company decided to mount two more of Simon’s works, using the same director.
Probably Simon’s most produced works (and that’s saying something for this very popular playwright), his “BB” trilogy is extremely autobiographical. “Brighton Beach Memoirs” is the story of his early teen years as America is about to enter World War II and Simon was about to enter adulthood. “Biloxi Blues” chronicles his time in the Army during the war to end all wars. “Broadway Bound” follows Simon and his brother as they break into show business as comedy writers in the early ’50s.
The Old Globe is producing “Brighton Beach” and “Broadway Bound” in repertory. This makes sense because the two share the same set and many of the same characters (although there is an age difference to the two brothers). Scott Schwartz, who directs both productions, sets this up nicely by beginning “Brighton Beach” with the adult brothers leaving home.
Then in walks the teen Eugene Morris Jerome, a witty kid who can’t decide if he’s going to play for the Yankees or become a writer. Perhaps it’s because we know Eugene is really Simon or because the actor playing the role, Austyn Myers, can’t pitch—but it’s obvious which way this is going to go.
Almost every member of the family is at a crossroads. Eugene’s parents, Jack and Kate, are struggling financially because they are supporting Kate’s sister, Blanche, and her two daughters. Jack has just been laid off from his second job. Their oldest son, Stanley, is working fulltime, but is considering leaving that job. Blanche’s oldest girl wants to drop out of school to be a showgirl.
And Eugene? He just wants to see a girl naked. Or stay out of trouble. Either is fine.
The secret to any production of “Brighton Beach” is casting the right actor as Eugene. A young Matthew Broderick won a Tony Award for the role on Broadway. Myers doesn’t have Broderick’s razor sharp comic timing, but he’s quite funny and shows plenty of heart. Sloan Grenz’ Stanley is a little too frenetic and lacks the same depth, while Julia Vanderwiel is believable as the youngest cousin. But Allie Trimm—while doing an excellent job—seems miscast as the older cousin, coming across as more peevish and petulant than a girl verging on womanhood showing her emerging independence.
The performances that really stand out are the three parents. David Brisbane’s world-weary Jack is a work of art, while Karen Ziemba’s Kate is made of iron and lace. Bonnie Black shows great fragility and compassion as Blanche, a character who finally takes on the responsibilities of adulthood by the play’s end.
The play requires a straightforward, two-story set, but designer Ralph Funicello adds a nice touch with an outside wall that levitates to reveal the second story. Alejo Vietti’s costumes not only capture the period in a nostalgic way, but also tell us much about this Long Island family. Schwartz isn’t a showy director, which is a good thing. He merely gives the play room to breath, trusts his actors and keeps the action moving.
“Brighton Beach Memoirs” starts as a funny and rosy-eyed look at America just before WWII, but by the play’s end, those glasses are ripped from our eyes. The result is what’s made it such a lasting classic. The Globe has done well by this beloved comedy and audiences are the ones to reap the benefit.
