The first in the semi-autobiographical trilogy, Brighton Beach Memoirs, continues to amuse audiences after nearly forty years, thanks to Teatron’s Toronto Jewish Theatre’s solid production. It pays close attention to subtle details in its staging at the Studio Theatre in North York’s Meridian Arts Centre.
The setting is 1937, Brighton Beach in the borough of Brooklyn, New York. It’s the Depression, and times are extremely tough. We are at the cramped home of Jack Jerome (David Altow) and his wife, Kate (Elyssa Katz). Jack and Kate have two sons, Stanley (Remy Dubins) and Eugene (David Ohana). Kate’s widowed younger sister, Blanche Morton (Laura Denmar), also lives in the house with her two daughters: Nora (Lauryn Hall) and Laurie (Molly Alexander).
Told from the perspective of young Eugene, who aspires to be a writer, he often breaks the fourth wall to speak directly to the audience throughout the show. Eugene is the typical teenage boy, experiencing common teenage angst—growing up, going through puberty, discovering girls, and playing baseball for the New York Yankees. While much of the dialogue between the characters is humorous, there is also notable tension between the two families. After Blanche’s husband, Dave, died of cancer, Kate invited her sister and daughters to live at the house with her, Jack, and the boys. What was supposed to be a temporary arrangement has now lasted three years.
Ashley Whitten’s cramped set design looks fantastic from the audience’s perspective. Her design pulls the house sharply downstage, making the audience feel like part of the action as the story unfolds. Every inch of space on the Studio Theatre stage is used to create a sense of ‘stuff’ all around. Sharron Bender and Sharon Nemers cleverly fill the stage with a variety of bric-a-brac and knick-knacks that are great recreations of the 1930s.
Costume Designer Liza Zawadska has a keen eye for period-appropriate clothing. The entire cast looks terrific. An excellent addition during the pre-show and intermission, Act 2 music features the perfect song selection that would no doubt have been played on the radio. Jay Hines’ light design fills the space amply. A slight quibble in that a few lighting cues were not as quickly executed as they could have been. Some of the characters were in shadow as they spoke. A general reminder to all the actors to ensure they find their light while on stage.
Lynn Weintraub directs the production with confidence, skill, and practicality. She instinctively understands the Jerome and Morton families. Weintraub knows that no family is perfect, and she clearly envisions the actors to play that very trait convincingly.
This seven-person cast does Weintraub proud.
David Ohana effectively captures the lively, spunky wit of young Eugene. It’s a demanding role. Ohana knows how to time Eugene’s comic quips perfectly, making them feel natural. The scene where Ohana is caught off stage in the bathroom, with his cousin Nora entering, is hilarious. Even though we don’t see anything, the moment is vividly imagined. As older brother Stanley, Remy Dubins radiates the youthful charm of a young lad on the cusp of adulthood who realizes he’s one of the men in the house. A slight quibble, though. Upon his first entrance, Dubins slightly slurred his dialogue with Eugene on the porch, and it was difficult to make out what was said from my seat in the house.
As Eugene’s cousins, Lauryn Hall and Molly Alexander convincingly play sisters Nora and Laurie, respectively. Hall’s enthusiasm about Nora’s chance to audition for a major Broadway producer feels genuine and clearly shows the young girl’s strong desire to pursue this opportunity. As the younger sister, expected to take it easy because she has ‘heart flutters’, Alexander at one point offers a knowing smile, suggesting she’s using the moment to her advantage.
As a father figure and head of the household, David Altow’s Jack wants what’s best for everyone. But Altow’s Jack is tired, and rightly so. He’s worried about the Depression, worried about his job, his family, and hearing about what is happening with his family overseas in Europe with the possible approach of another world war. Altow’s moments with Elyssa Katz’s Kate clearly ring true. As husband and wife, they do their best with what little they have in life, but they make it work for all.
Elyssa Katz and Laura Denmar deliver authentic performances as sisters Kate and Blanche. Katz’s Kate is straightforward, direct, and often blunt when interacting with her husband and sons, especially when she ‘asks’ Eugent to do something. In contrast, Denmar’s Blanche is gentle and supportive in her dealings with her daughters.
An electrifying scene between Katz and Denmar occurs around the midpoint of Act 2, and it ranks among the show’s highlights. The confrontation is staged intriguingly; the two women initially move cautiously around each other because the conversation is complex. Ultimately, it escalates into flared tempers, heated accusations, and probable impulsive decisions about how to proceed now that everything is out in the open.
First staged on Broadway in 1983, what is it about Simon’s staple comedy that still resonates with audiences nearly 43 years later?
Artistic Director of Teatron Phyllis Feldman answers the question in her Programme Note. It’s trying to navigate life in a crowded household with extended family. It’s about finding solace in dreaming big. Each character in this play dreams big.
It’s okay to do that and dream big.
Today, we need to do that more than ever as the relationship between Canada and the U.S continues to be on tenterhooks.
Go and see this Brighton Beach Memoirs.
Running time: approximately two and a half hours with one interval/intermission.
The production runs until November 6 at Meridian Arts Centre, 5040 Yonge Street, Toronto. For tickets teatrontheatre.com or call (416) 366-7723.
TEATRON Toronto Jewish Theatre presents
Brighton Beach Memoirs by Neil Simon
Director: Lynn Weintraub
Set Designer and Construction: Ashley Whitten
Lighting Designer: Jay Hines
Costume Designer: Liza Zawadzka
Wardrobe Supervisor: Sharon Kirsh
Properties Manager – Sharron Bender, Sharon Nemers
Scenic Painter: Petro Bockus
Stage Manager: Francheska Libao
Performers: David Ohana, Laura Denmar, Elyssa Katz, Molly Alexander, Lauryn Hall, Remy Dubins, David Altow
