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‘Brooklyn Boy’ @ Jewish Theatre
The Atlanta Journal-Constitution
THEATER REVIEW. Grade: B+
Ira Zimmer, in one of the many poignant moments in Donald Margulies’ “Brooklyn Boy,” tells his childhood friend, Eric Weiss, “If there’s one thing Jews are good at, it’s grief.”
And as Jewish writers from Arthur Miller to Philip Roth have shown, they’re also good at laughter, nostalgia, compassion, tradition and storytelling, all abundantly on display in director Susan Reid’s heart-rending production of Margulies’ drama at the Jewish Theatre of the South. At times, though, the play seems old-fashioned in its Freudian father-and-son relationships and sentimental outpourings.
Weiss is a newly successful novelist who returns to Brooklyn, N.Y., to visit his dying father and encounters his old pal Zimmer for the first time in 25 years. The play —- loaded with classic themes of leaving home and returning, prodigal son-style —- is essentially Weiss’ middle-age journey to self-acceptance.
While Weiss constantly harps on his successful escape from Brooklyn, his best-selling book, “Brooklyn Boy,” is based on his Jewish childhood there, showing the borough’s hold on his soul. Along with his return to Brooklyn, he makes a trip to Los Angeles, where his book is being turned into a film. There, Weiss has an all-too-familiar encounter with the soul-deadening, materialistic side of Hollywood.
As Weiss, David de Vries gives a finely controlled, understated performance. Emotionally guarded and speaking in sound bites, Weiss appears almost robotic in contrast with the passion and humor displayed by those he encounters. But De Vries, who appears in every scene, succeeds in making this wary, decent, cautious man compelling and vibrant.
Andrew Benator delivers a stunning, complex portrayal of Zimmer, who suppressed his artistic talent and remained in Brooklyn. Although disappointed that he’s done nothing more with his life than take over his father’s deli and that he lives in the house he grew up in, he’s sustained by his Orthodox Jewish faith, family and community. At first wounded by Weiss’ abandonment, Zimmer comes to show deep compassion for his grieving friend. Benator fully explores the Yiddish-leavened language of Brooklyn, its zany rhythms and expressive inflections.
As Weiss’ sarcastic, ribald and manipulative father, Manny, Barry L. Anbinder presents a multicolored portrait of regret, abuse and waste. Remember “Death of a Salesman”? In this case, Manny works at a Buster Brown shoe store. A small life, perhaps. But in a sudden burst of poetry, Anbinder thrillingly delivers Manny’s unexpected testament to the satisfaction, even joy, of his work.
In striking, cameolike roles are Cynthia Barrett, as a finely nuanced Nina, Weiss’ estranged wife; Bradley Bergeron as an inarticulate young actor who would be at home on HBO’s “Entourage”; Jennifer Levison as a pushy Hollywood producer; and Sharon Zoe Litzky as a young woman who becomes infatuated with Weiss at a book reading.
The outstanding performances and Margulies’ language again show the magic of Brooklyn, the inspiration for countless movies, plays, novels and comedy routines.
THE 411: 8 p.m. Wednesdays, Thursdays and Saturdays; 3 p.m. Sundays. Through Nov. 12. $18-$35. Jewish Theatre of the South, 5342 Tilly Mill Road, Dunwoody. 770-395-2654; www.jplay.org.
THE VERDICT: A poignant trip back to Brooklyn.
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