The Realistic Joneses ***

Will Eno's Broadway debut play, now in previews at the Lyceum is a strange mashup of the absurd and the hilarious, with a strong undercurrent of ruefulness and resignation. In it, we meet two couples, both named Jones. The older long-married couple, Bob (Tracy Letts) and Jennifer (Toni Collette) rarely converse, especially since Bob fell ill with an incurable neurological disorder. While sitting on their patio, they are surprised by a visit from their new neighbors, John (Michael C. Hall) and Pony (Marisa Tomei), who have just moved to town. Their initial conversation might be described as a combination of Beckett and Borscht Belt. Hall gets most of the good lines. The two couples at first seem to have little in common, but are drawn to each other and eventually form a peculiar bond. The play explores the uses of conversation both as a way to express, avoid and conceal feelings. Its blend of hilarity and humanity works well most of the time, but the one-liners grow a bit tiresome after a while. The high-profile cast handles Eno's off-kilter dialog with aplomb under Sam Gold's nimble direction. David Zinn's scenic design, Kaye Voyce's costumes and Mark Barton's lighting set the appropriate mood. Of the four Eno plays I have seen, this one was both the funniest and the most affecting. Running time: 1 hour 40 minutes; no intermission.

Look Back in Anger *

(Please click on the title to see the complete review.)
Roundabout Theatre's current revival of John Osborne's 1956 play is a puzzler. Granted, it's impossible to recreate the shock waves the play set off when it first appeared. But what's the point of reviving it if you strip out almost all the social and political background that makes the play comprehensible? One of the characters has been eliminated too. In the present version you would be hard put to figure out just what Jimmy Porter is so angry about. Matthew Rhys captures Jimmy's anger, but comes up short on the magnetism that would explain what holds people in his thrall. Also, it's a stretch to believe in him as a 25-year-old. Sarah Goldberg, as Jimmy's wife Alison, is fine in the first two acts, but doesn't find the right note for the final act. Adam Driver, as Cliff Lewis, is eminently watchable, but the reasons for his devotion to Jimmy remain a riddle. Charlotte Parry is strong as Helena. The production is very poorly served by Andrew Lieberman's set. A charcoal gray wall without windows or doors covers the entire stage, leaving a strip perhaps four feet deep for the action. This strip is cluttered with decrepit furniture, an iconic ironing board, and piles of trash and rotting food. If this is a metaphor for their circumscribed, squalid lives, it is a heavy-handed one. Mark Barton's lighting is problematic too. The audience is bathed in harsh bright light which gradually fades once the play begins. Sam Gold, in his third New York play this season, directed. Running time: 2 hours, 25 minutes.