Carrie Compton - Staff Writer, Montgomery Newspapers
03/19/2008
Admit it. There's that in-law you dread. That one who's a
virtual stranger you find yourself having to spend time
with as though he were actually family.
This is one of the inevitabilities of life that Jeff Baron's
new play, "Brothers-in-Law," explores. The play, making
its world premiere at Act II Playhouse in Ambler, is about
two men who find each other, for very different reasons,
in their late father-in-law's private room. Richard, played
with remarkable aplomb by Kraig Swartz, is a frivolous
dandy in his late 30s who is startled to find his much older
brother-in-law Fred in the room reserved for their late
father-in law's exclusive use.
Fred, we soon find out, is a rough-around-the-edges
truck driver who can't much stand Richard's
flamboyance. Tom McCarthy excels in the character of
Fred, and his no-nonsense attitude flawlessly offsets the
perky aloofness of the Richard character.
After the initial shock of running into each other subsides,
the pair tries to ferret out the other's motives for
breaking into the room. Their reasons for being there are
not quite shocking, but do serve as a means to catapult
their relationship and understanding of each other to
new levels.
The attention to details on the part of the set design and
direction is one of this play's finest assets. Richard's
seemingly cheap tie clashes with his otherwise garish
displays of materialism, an observation that is rewarded
with an explanation by the end of the play.
The room itself has all of the accents one might expect -
knotty pine paneling along walls, a pair of worn slippers, a
mounted fish - all marvelously offset by a striking portrait
of the late mother-in-law looking every bit like Pat Nixon
or Petula Clark in her bouffanted glory.
Tom McCarthy's acting and Harriet Power's direction
shine in the moment it is suggested that Fred spent time
in prison, for everything we are shown about this
character, everything about his demeanor, resists the
notion of having been incarcerated, despite his tendency
toward foul language. Like Richard's cheap tie, audience
members are rewarded for these observations and for
trusting their instincts.
Family secrets and nagging personal suspicions creep up
through the dialogue and make for the perfect mixture of
tension and gratification. The two actors are comfortable
with their respective parts, and although the play is
wrought with new discoveries, about each other and
their late in-laws, the two perform as though they were
hearing all the information for the first time.
The play does an extraordinary job of character
development and makes some powerful points about
gossip and truth, but unfortunately, it became redundant
in the last half-hour of the 90-minute play... and while the
conversation between the two was still lively, it felt as
though they weren't covering enough new ground.
Nevertheless, there is a laugh a minute.
These two characters were meant for this kind of
production, and it's difficult to resist the urge to want to
see these two in a some kind of network sitcom. Still, it is
an urge worth resisting. Television could never do for
these characters what Act II does.
By putting you at a virtual arm's distance from the
drama, the cozy playhouse takes you out of the realm of
passive observer and thrusts you into the seductive role
of voyeur. Feeling like a privileged fly on the wall while
family secrets are unearthed throughout the play makes
Act II a fitting and invaluable choice for the
"Brothers-in-Law" world premiere.
"Brothers-in-Law" continues at Act II Playhouse,
56 E. Butler Ave., Ambler, PA 19002,
through April 6.
Tickets: $30 - $40.
Info: 215-654-0200
or www.act2.org
to read more about
Brothers-in-Law.
Amy Lewis
March 13, 2008
Act II Playhouse in Ambler continues to go from
strength to strength. The fourth show in what has
been a spectacular 2007-2008 season, Brothers-In-Law
embodies everything that makes Act II so successful -
great play selection, perfect casting, intelligent direction
and excellent production values. Pair these qualities
with Act II's charm and a wonderful evening of theatre
unfolds.
To start, Jeff Baron's script is simply outstanding. As
polished and gripping as a play that has been through
several incarnations, it's hard to believe that this is
Brothers-in-Law's world premiere, having been
discovered at a play reading by Act II's artistic director,
Steven Blumenthal. Running 90 minutes with no
intermission, the show seems much shorter, as one's
attention is never lost throughout its duration. The
characters are thoroughly developed and the plot so
intriguing/entertaining that the audience becomes
engrossed and invested in a piece that boasts only two
actors and one set. A testament to excellent
craftsmanship, though, Brothers-in-Law is more
entertaining than the splashiest, large-scale Broadway
musical.
The plot centers on Fred and Richard, two
brothers-in-law who are not particularly fond of each
other because of preconceptions and assumptions they
have made about each other over the years. During
their mother-in-law's funeral the two find themselves in
the basement of her house, which served as their
father-in-law's place of retreat. As the two begin to
question each other's motives and lifestyle, they begin
to discover the hidden depths each possesses. It's
powerful, touching and very, very funny.
With only two actors in the piece, casting was crucial for
Brothers-in-Law, and Act II could not have made two
better choices. Tom McCarthy and Kraig Swartz are so
perfect for the roles they play that one could easily
think the parts were written for them. Their
performances are so strong that praise must be given
for both their individual and collaborative work; both
personify their characters flawlessly whilst relating to
their counterpart at all times, allowing every poignant
moment of the play to resonate with the audience.
Tom McCarthy shines as Fred, a middle-aged truck
driver with a gruff exterior but a sensitive heart.
Bearing more than a passing resemblance to and
demeanor of Carroll O'Connor, McCarthy takes Fred
beyond the cliché of a grumpy old softy and makes him
a complex and fascinating character. McCarthy's
performance is infused with nuance and intrigue, as
there is clearly something he is keeping inside but can't
seem to verbalize. As his shell begins to crack and Fred
lets Richard in a little, McCarthy reveals Fred's touching
purity and grace.
Kraig Swartz is note perfect as Richard, a seemingly
shallow and vain perfectionist with huge insecurities.
Swartz, like McCarthy, colors his characterization
beyond cliché and creates a multifaceted human being
with whom the audience can sympathize. Swartz brings
the boyish charm of Matthew Broderick that endears
him to the viewer, yet in the same breath layers in an
acidic, cerebral wit that makes him utterly fascinating to
watch. As Richard's façade begins to crumble, Swartz
unveils a vulnerability that is profound.
The production team at Act II augments this already
impressive package with their trademark skill and
intelligence. Harriet Power's direction is astute and
comprehensive, ensuring that there are no wasted
moments on stage. Every one of the 90 minutes of the
play's running time is significant and fascinating, no
doubt the result of careful script analysis and an
effective rehearsal process.
It is difficult to single out one particular member of the
design team when each has done such excellent work.
John Hobbie's scenic design perfectly realizes the details
given about the lives of the deceased parents-in-law,
and Jessica Risser-Milne's costume design demonstrates
an acute understanding of characterization. Rounding
out the team are James Leitner and Matthew Aaron,
whose lighting and sound design, respectively, complete
the manifestation of Richard and Fred's world.
Brothers-in-Law is a first-class production from top to
bottom and the Philadelphia area should thank Act II
for bringing its world premiere here. The show is a
complete package, and anyone interested in seeing a
great piece at its extremely precocious infancy should
get out to Ambler before New Yorkers start claiming it
as their own. Brothers-in-Law is every bit worthy of
Broadway, but, for the moment, the show and Act II
Playhouse are a perfect marriage.
Fred and Richard married into the same family. In the past
12 years they have been together in the same room
hundreds of times. They never had a conversation until
today.
On the afternoon of their wives’ mother’s funeral, with the
reception taking place upstairs, they meet each other
sneaking into their late father-in-law’s private room in the
basement, which no one has ever seen.
Fred, a truck driver in his 50’s (older than the older sister),
and Richard, a bon vivant in his 30’s (younger than the
younger sister), each has his own reason for coming to
this room. Neither wanted company, but nobody’s leaving.
A suspenseful comedy, Brothers-in-Law will run at Act II
Playhouse in Philadelphia through April 6. The French
version, Les Beaux-Freres will be seen in Paris, where
Visites à Mister Green ran for over a year and was
nominated for 4 Moliere Awards including Best Play. Los
Cuñados, will also be produced next theatre season at the
Metropolitan Theatre in Buenos Aires, where Visitando al Sr.
Green is now in its third year.
.
the play: 90 minutes, no intermission
the setting: a basement room in a house
the cast: two men, one in his 30's and one in his 50's
PHOTO BY CHARLES SEYMOUR, JR.
Brothers-in-Law press conference.
PHOTO BY REGINA RAHILL