REVIEW: New Jewish Theatre Opens Season with CONVERSATIONS WITH MY FATHER

The title of Herb Gardner's play, Conversations with My Father, is kind of a misnomer. The character of Eddie Ross (nee Goldberg) doesn't converse as much as harangue the people around him. But, don't take this as a knock on the play; it's more of a clarification than anything. Ross, and his relationship (or lack thereof) with his estranged son Charlie, is at the heart of the story, but Eddie is prone to lengthy diatribes, dishing out his opinions and advice with the smallest of provocations. And yet, this isn't just the ramblings of a bitter old man, but an exploration of his particular experience immigrating to America, and trying to fit in by rejecting his Jewish heritage. Powerful performances drive this compelling production by the New Jewish Theatre as they open their 2009-2010 season.

Conversations with My Father is told as a series of vignettes that Charlie recalls as he prepares to shutter and sell the bar his father ran (under a myriad of names) for many years. These episodes introduce us to Eddie Ross, who's trying desperately to realize the American Dream so he can forge a better life for his family. They're cleaning out the place when Charlie's son finds an old box of mementos that Charlie would just as soon forget, and it triggers recollections that take him back to his infancy. His overbearing father is preparing for another in a series of grand openings for his newly christened tavern, and his pleas to his tight-lipped two year old son to utter some kind of recognizable word range from surprisingly tender to borderline abusive. But, when we learn the degree of persecution suffered by Eddie and his family in their native Russia, we have a greater understanding of what makes this man tick.

Peter Mayer is a powerhouse as Eddie, commanding the stage for a series of speeches that convey his frustration at missing out on the brass ring. His intensity is one of the reasons this production works as well as it does. It's a riveting and, at times, blistering performance that's neatly offset by B. Weller's beleaguered role as the adult version of Charlie. You can read the pain in Weller's eyes as he relates these stories, and you find yourself hoping for a sense of closure that never comes. This makes the play rather untidy, but that's why I found it so affecting. Life can get messy at times, and that quality is reflected in Gardner's script.

A strong supporting cast includes: Billy Kelly as Charlie's son Josh, and as Eddie's other son Joey, who meets a tragic fate near the end of World War II; Drew Reddington as the younger incarnation of Charlie; a delightful Kari Ely as Eddie's wife Gusta; Alan Knoll as Zaretsky, the sole member of the Yiddish Theatre Company; Bob Harvey as a regular named Nick who has identity issues; Nancy Crouse as a blind patron named Hannah; Terry Meadows as a bookie named Finney; Stephen Peirick as Italian racketeer Jimmy Scalso; Kevin Beyer as Jimmy's more level-headed assistant Blue; and Jimmy McEvoy as the younger version of Joey.

This is heavy stuff, and director Sidney J. Friedman keeps this fairly large cast focused throughout. His blocking is especially notable, creating an interesting tableau amidst the action that occurs. Dunsi Dai's scenic design for Ross's tavern is smartly conceived down to the moose head hanging from the back wall. Glenn Dunn's lighting aids immeasurably as it spotlights the right people at the right time. Michele Friedman Siler's costumes fit the era without being showy or distracting.

This is a long play, running nearly three hours, but I thought it flew by rather quickly considering the talky nature of the piece. Don't be put off by that though, this is moving and affecting material thoroughly deserving of your time.

Conversations with My Father continues through October 18, 2009.

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