3/5 This adaptation of Richard Greenberg’s play struggles to find relevance in a new London setting but the performances are fun
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Richard Greenberg's theatrical production at London's Hampstead Theatre presents a multi-generational narrative set in Manhattan's Upper West Side. The story unfolds across two time periods - 1980 and 2000 - within a rent-controlled apartment, examining the transitions and relationships of a middle-class family.
The narrative centers on a holiday gathering where college student Jeff (Sam Marks) visits his friend Scotty (Alexander Marks). The apartment serves as the setting for family dynamics involving Scotty's parents Ben (Daniel Abelson), a business professional, and Julie (Jennifer Westfeldt), a former screen actor. The family circle includes Ben's sister Faye (Tracy-Ann Oberman) and additional relatives who contribute to the interpersonal exchanges.
The production addresses multiple themes through its two-decade span, including family relationships, economic changes in Manhattan, and generational differences. The script incorporates period-specific references to societal developments and cultural figures of the 1980s, including Pierre Trudeau's leadership and evolving social movements.
The narrative structure presents contrasting scenes between 1980 and 2000, depicting changes in the family's circumstances and the apartment's condition. The later period shows transformations in the characters' lives, with Julie maintaining holiday traditions despite altered circumstances. The production examines parent-child relationships and familial bonds across time.
Jennifer Westfeldt and Tracy-Ann Oberman deliver performances as Julie and Faye respectively, creating distinct interpretations of their characters. The supporting cast members contribute to the ensemble presentation, each addressing their roles' requirements within the production's framework.
Director Blanche McIntyre implements technical elements and timing in the staging. The set design incorporates holiday decorations and period-appropriate elements to establish the temporal settings. The production continues at Hampstead Theatre through November 22.
The text explores themes including family dynamics, generational relationships, and societal changes across two decades in Manhattan. It presents perspectives on housing economics, family traditions, and interpersonal connections through its examination of one family's experiences over time.
This staging represents one interpretation of Greenberg's work, which has received various productions in different theatrical venues. The presentation adds to the repertoire of contemporary theater offerings in London's performance calendar, providing audiences an opportunity to examine these themes through its specific narrative lens.
In his 500-page memoir, “Born to Run,” Bruce Springsteen spends less than three pages on the making of his 1982 album “Nebraska.” The first authorized biopic of his life — “Springsteen: Deliver Me From Nowhere” — disagrees, delving deep into the inner turmoil The Boss was dealing with during its recording and then surfacing with an endearing, humbling portrait of an icon by a soulful Jeremy Allen White. With heavy-lidded eyes and his head nearly almost cocked at an angle, White gives us a wretched Springsteen, open-mouthed in ecstasy when playing live but sunken in his leather jacket while roaming the streets.
