BWW Reviews: The New Jewish Theatre's Spellbinding IMAGINING MADOFF

There's no doubt in my mind that people who are familiar with the despicable actions of Bernie Madoff will never find it in their hearts to forgive the way he bilked so many trusting and innocent victims out of their life savings with his nefarious Ponzi schemes. And yet, with playwright Deborah Margolin's work, Imagining Madoff, we're given an opportunity to examine in detail the man who concocted this plan. It's not that you feel any empathy or understanding for his motives, but that you see him as a real person, and not just another criminal elevated by the media due to his notorious actions. It's a really engaging and thought-provoking piece of theatre that exemplifies the kind of material that the New Jewish Theatre has become so well known for, and it's one that should not be missed at all costs.

The play utilizes a number of repeated metaphors to establish a continuity, and to draw parallels that enlighten the events that transpired. Utilizing an imaginatively conceived scenic design (brilliant and genuinely artistic work by Kyra Bishop) that divides the stage into three equal areas (Madoff's prison cell, the SEC examination room, and the study of Solomon Galkin), we're privy to discussions, private and otherwise, that give us a distinct overview of the situation that evolved into a nightmare for those that placed their trust in Madoff.

The triumvirate of actors that make up the ensemble of this piece are simply outstanding. Julie Layton plays a secretary testifying about her own ignorance of the activities that Madoff was up to. But, she also plays various roles in video projections, displaying a chameleon like ability to morph into a number of characters that are talked about. Her dialect is also spot on. Jerry Vogel is excellent as Solomon Galkin, a scholarly gentleman who bears the burden of having lived through the Holocaust and come out the other side, but not without scars that may never heal. He deals with his pain by writing poetry, and he desperately wants Madoff to take over his finances, oblivious to what will happen to him once he does so. Bobby Miller is a marvel as Madoff, ingratiating at times, but also stubborn in his unwillingness to firmly grasp the magnitude of what he's done. Sure, he knows he bilked many, many people out of their life savings, but Miller finds the traces of humanity that exists within this demon.

Lee Anne Mathews directs the play with an eye toward fully vesting the actors in their performances, and it really pays off. There are no false notes, only the playwright's sense of reality that shines through, and that's truly commendable. Kimberly Klearman's lighting design is flawless, illuminating each section of the stage as the action ping pongs between players. Michele Friedman Siler's costumes are, as always, perfect character fits. Jenny Smith's props allow each section of the stage to have their own unique identity, and Michael Perkins contributes an sound design that conjures up a suitable atmosphere.

You may despise Bernard Madoff for his ill deeds, but you'll be transfixed by Margolin's marvelous script, and the wonderful work of the cast of crew of this totally involving production. I cannot recommend this presentation by The New Jewish Theatre enough. It continues through February 8, 2015, and I urge you to check it out.

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