Although Broadway musicals continue to disappoint, the season is shaping up as one of the best
in history for dramas. As previously reviewed, "12 Angry Men" and "Doubt" prove quality drama can thrive in large Broadway houses and can be developed off-Broadway and
ultimately turn a profit for producers. With several high profile and promising dramas on the boards, in previews and planned (Democracy, Gem of the Ocean, The Glass Menagerie, Who's
Afraid of Virginia Woolf, Julius Caesar, Steel Magnolias, On Golden Pond, The Pillowman, A Streetcar Named Desire, Glengarry Glen Ross, After the Night and the Music,
HurlyBurly, A Picasso, The Last Days of Judas Iscariot, Romance, Woman Before a Glass, Moonlight and Magnolias, The Paris Letter) the signs of good health for dramatic theater
both on and off Broadway have never been more robust.
Manhattan Theater Club's production of "Doubt"
received 5 jacks in Jack Myers Entertainment Report (1/4/05). Although it's a small
four performer production, the performances and story have proven such strong audience pleasers, producers are moving Doubt
from a sold-out run at Manhattan City Center to Broadway's Walter Kerr Theater. On the heels of its success with Doubt, MTC premiered Donald
Margulies' "Brooklyn Boy" at the Biltmore Theater. Margulies, winner of the 2000 Pulitzer Prize for "Dinner with Friends" and writer of last
year's acclaimed "Sight Unseen" with Laura Linney, has written an unflawed script that is performed to perfection by one of Broadway's most
skilled yet under-appreciated ensemble cast. Open only through March 20, Brooklyn Boy should be another MTC candidate for an extended run,
but the story of a Jewish writer's escape from his Brooklyn roots and his confrontations with his past and present may seem too limiting for broad (ie non-Jewish) appeal.
Nothing could be further from the truth. While some basic understanding of Jewish culture is
helpful, it has no bearing on the extraordinary pleasures deriving watching, listening to and
pondering Brooklyn Boy's messages. After 12 Angry Men, this is Broadway's best drama, deserving of multiple Tony nominations.
Adam Arkin is on stage during every minute of the play and, perhaps second only to his performance on TV's "Northern Exposure" he delivers his best work to date and establishes
himself as a fine dramatic actor. In the past, critics questioned his range and depth, but after Brooklyn
Boy, Arkin should set these issues to rest.
While Ari Graynor's (Alison) performance takes a few minutes to unfold, she ultimately
steals the show. Graynor delivers a captivating portrayal of a typically L.A. Valley Girl star-f**ker
who actually has an independent and clear-thinking mind and a voice but never opts out of the Valley
Girl character to display them. Ari Graynor should capture an EMMY for supporting actor nomination without debate. His is the spiritual voice that
keeps Brooklyn Boy on track and compelling, and all of us know his character from our own childhood, whether we grew up in Brooklyn, Utica,
Biloxi or Monterey. But the real star of Brooklyn Boy is writer Margulies, whose script contains not one false word, image or note. The story
unfolds like an opera, with each word and nuance perfectly scripted and delivered. If you can get tickets, see this show and hope it is extended so
you too can enjoy the pleasure of a perfect play.
Jack Myers Entertainment Report's entertainment rating system is based on a
maximum of five jacks and a minimum of zero jacks. 0 = awful; 1 = pretty bad; 2 = okay but don't go
out of your way to see it; 3 = reasonably good but not special; 4 = very good and worth paying attention to; 5 = exceptional. Opinions are based on my own likes, dislikes and preferences.
