The show: “Broken Glass” at the Westport Country Playhouse.
What makes it special?: A late play by one of America’s great dramatists (and Connecticut resident), Arthur Miller, who is being celebrated on the 100th anniversary of his birth.
Footnote: The show had a bumpy world premiere at New Haven’s Long Wharf Theatre in the ’90s, starring Amy Irving, and later played Broadway, where it had a short run. It received a warmer welcome in London, but is not often produced here.
First impressions: Though it’s pretty clear where the story is headed and its tidiness too evident, there’s a palpable excitement in the heady narrative that mixes psychology, matrimonial conflicts, world events and issues of Jewish identity. (This is Miller’s only play that deals directly with that last subject.) The imperfect but still powerful play receives a fine production and several exceptional performances that will stay with you well after the show. In fact, the post-show talks may the best part.
What’s the story?: Set in 1938 in Brooklyn during Nazi Germany’s “Kristallnacht” (The Night of Broken Glass), Sylvia Gellburg (Felicity Jones), a middle-aged housewife, finds herself paralyzed below the waist and there seems to be no medical reason for it.
What’s wrong then?: She seems to be strong-willed and intelligent, too, and engaged with the news — especially what is happening in Europe. She is fixated on the image of two elderly Jews being forced to scrub a sidewalk with toothbrushes and doesn’t know why those around here isn’t as bothered about it as she is.
Her husband, Phillip (Steven Skybell), is concerned but increasingly there’s frustration, anger and resentment, too. He has sought out her doctor, Harry Hyman (Stephen Schnetzer), for answers and the physician is as baffled as anyone. But he suspects the root of the paralysis is psychological and thinks it may be about her relationship with her husband. But what exactly? And why? And why is the doctor so drawn to this case?
For the next 90 minutes or so, we follow this psychological detective story, staged with ever-heightening emotional temperature and urgency by Mark Lamos.
As the doctor probes, Sylvia’s sister (Merritt Janson) reveals a few clues. Meanwhile, Phillip seems to be unraveling at work at the Brooklyn Guaranty and Trust, where he oversees foreclosures and grovels to the WASP boss (John Hillner). In a bit of awkward subplotting with no payoff, the doctor — who has marital issues of his own — seems to be mesmerized not just by the case but by Sylvia herself — and his wife (Angela Reed) knows it.
As the investigation builds, so do the recriminations, accusations and decades of guilt, self-loathing and denial. The audience probably knows where it’s all headed, but it’s still invigorating stuff, wonderfully acted. The production values are first-rate, too, including Michael Yeargan’s dramatically reflective set, Candice Donnelly’s lived-in costumes, David Budries’ sound and Stephen Strawbridge’s lighting.
And the performances? Jones gives a stunning portrayal of a woman whose lost life is heartbreakingly exposed, and Skybell is magnificent in his tragic decline. Schnetzer is challenged in his sketchier role where his main purpose is to ask leading questions with melodramatic flair. Janson, Hillner and Reed are solid in supporting roles.
Who will like it?: Miller fans. Those interested in psychological dramas and Jewish identity issues.
For the kids?: Not really. Adult drama.
Twitter review in 140 characters or less?: Flawed but fascinating late Miller work in riveting production.
Thoughts on leaving the parking lot?: With “View from the Bridge” on Broadway, “Incident at Vichy” off-Broadway this fall and “Broken Glass,” the centennial of Miller’s birth is in full swing. It is especially significant that the Playhouse has undertaken this flawed but fascinating play. This play and Paula Vogel’s “Indecent” at Yale Rep offer two compelling looks at Jewish identity and history as interpreted by two of America’s great dramatists.
The theater and the Westport Library is also offering during the play’s run free symposiums, author talks, forums, talkbacks, videos and exhibits about the playwright. Details available at the theater’s website.
The basics: Westport Country Playhouse’s “Broken Glass” plays through Oct. 24 at the playhouse. The running time is 95 minutes without an intermission. Performances are Tuesdays at 7 p.m.; Wednesdays at 2 and 8 p.m.; Thursdays and Fridays at 8 p.m.; Saturdays at 3 and 8 p.m. and Sundays at 3 p.m. Information at westportplayhouse.org and 203-227-4177.
