“Brooklyn Boy”: An Emotional Frolic through an Author’s Boyhood Borough
By Kristen Fogle
For anyone who has ever gone home, “Brooklyn Boy” is sure to strike a chord.
Scripps Ranch Theatre (SRT) houses “Brooklyn Boy”: the story of the homecoming of Eric Weiss, a middle aged novelist, who is experiencing the highest highs and lowest lows of his life. In six scenes, we see a ping pong of emotions from our main character. Scene One begins at a hospital (in Brooklyn, hence, the scene of Weiss’ coming home) where he struggles with sharing the success of his third book—number 11 on the best sellers list—with his ailing father. His father ‘s biting commentary and misguided sentiments knock Weiss down a peg, and he retreats…to the cafeteria where Weiss runs into old time friend Ira, who praises him as a writer while questioning him as a friend. The third scene takes place at Weiss’ former apartment where he has been called to pick up the last of his belongings from his soon to be ex wife. Next, we see Weiss back on his book tour, in his hotel room, with a young “literary groupie.” Then, it’s off to a meeting in Hollywood with his movie producer (who basically wants him to take all authenticity out of the script he wrote based on his book) as well as put in a trendy new TV star as the face of “Brooklyn Boy.” After the disaster of the meeting, Weiss visits his father’s apartment, straightening out the items his father has left behind, and Ira makes an unexpected stop in. It is in this last scene that Weiss’ experiences finally culminate, and the battle with himself, his relationships, and the body of work that is based upon his life come to a head.
“Brooklyn Boy” is authored by Donald Margulies, who in addition to being a professor of English and Theatre Studies at Yale, is a Pulitzer winner (in 2000 for his play “Dinner with Friends”). “Brooklyn Boy” was his next attempt after such success and is loosely based on his own life; the play began life at the Pacific Playwrights Festival in 2003, was produced at South Coast Repertory on Broadway by Manhattan Theatre Club at the Biltmore Theatre, and in Paris at the Comedie des Champs-Elysees. It was an American Theatre Critics’ Association New Play Award finalist, an Outer Critics’ Circle nominee, and a Burns Mantle Best Play of 2004-2005. SRT Artistic Director Jill Drexler shows great enthusiasm for the piece: “Margulies…talks about his play as being ‘torn between the...powerful tug toward the traditional and familiar and the magnetic allure of the unknown.’" Director Russ Yeager echoes this sentiment, “With brilliant dialogue and superb plot structure, Margulies evocatively captures a contemporary angst and its accompanying longing—to be deeply connected to other human beings in a world where personal disconnection is becoming the norm.”
Yeager channels Margulies (with his superb cast) effectively…And all seven cast members are great: Chris O’Byron’s Eric Weiss is spot on—definitely displaying a vulnerability, but just capable enough that we admire Weiss’ strength; Paul Bourque is comical as the cantankerous Manny Weiss; Fred Harlow’s Ira Zimmer is endearingly annoying, providing plenty of laugh-out-loud moments; Amanda Cooley Davis (Nina) facilitates between cold/stubborn and tenderness exceptionally; Wendy Waddell as Melanie Fine kills her role as crazy but competent movie producer; Adam Daniel (Tyler Shaw) creatively captures the bro-like nature of young Hollywood types; Charlene Koepf’s Alison—Weiss’ “literary groupie”—is played with a childish enthusiasm that allows her to express both a revealing earnestness and the limitations of her character’s maturity.
These characters (again, under Yeager’s careful direction) make Margulies’ work moving. We understand Weiss as he yearns for the support of his father (spoiler alert: he receives a bit of this in the end), and in regard to his wife, we cannot help but feel empathy (as we have all experienced relationships where there is just too much that has happened and one partner cannot continue on). We also feel for Ira, though good natured, he is trapped in his life; we see his true need for Weiss’ friendship and his refusal that they have grown apart. And the religious aspect of the show. Going home for Weiss is not just about geography, it is about being Jewish. And though he continually rebuffs Ira’s need to get him in touch with his heritage, when Weiss relinquishes control of his screenplay (due in large part to his disagreement with his producer that the play was too ethnic—or Jewish), Weiss seemingly reclaims this aspect of himself; by detaching his name from the script he is saying that being Jewish is an integral part of the book based on his life, and the subsequent screen play—and he will not give that part of himself up.
And this is why “Brooklyn Boy” is worth seeing. Not because it’s perfect (I’m still kind of confused about the bulky bookcases that seldom see use as set pieces)—but because it’s an everyman tale; there is hope in seeing Weiss’ successes and failures and the way in which he endures. A good message for us all.
In addition to making a trip to “Brooklyn,” Scripps Ranch continually produces quality work, and I encourage you to visit their adorable theater plopped in the middle of Alliant University (and the middle of San Diego Country, for that matter.) However, keeping in mind that times are tough economically, you have a few other options besides paying full ticket price. Consider volunteering as an usher or in a different capacity, and get invited to see a free dress rehearsal of the show (usually the night before they open). Don’t have the time? Then take advantage of their pay-what-you-can night, one of the best things I think theater can do to help people who really want to see shows but can’t always afford it. For information on all the great opportunities (and wonderful upcoming shows) at SRT, please visit their website.
Brooklyn Boy
1/21-2/19
Scripps Ranch Theatre
@ the Legler Benbough Theatre
On the campus of Alliant University
858-578-7728
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