Bioloxi Blues
By Neil Simon
Produced by Theatre Arlington
Reviewed by: Natalie Shaw
When I was in High School Theatre, I thought I'd discovered gold when I picked up my first Neil Simon play, Barefoot in the Park. It was romantic, funny and real on so many levels. My Senior year, I stage managed The Odd Couple (Female Version) and was even more smitten with his work! What I'd discovered during my younger years about Neil Simon, and it's a lesson that I'm still learning today, is that there's always a greater depth to the subject matter that appear in his plays; a heavier burden that is made bearable through use of comedy. It's a way of laughing at our own suffering, as a means to survive it, like many comedies are. However, he is not merely distracting from these issues, or covering them up, as many playwrights tend to do--he is humanizing them through humor. The characters he writes are vulnerable and have deep desires, and are very often controlled by the circumstances that surround them, much like Simon, himself, was, during the hardship of his youth during the Great Depression. His characters exhibit emotions that are legitimate; reactions that are understandable; circumstances that are relatable. We, in return, are empathetic and relieved at the opportunity to laugh at it.
Biloxi Blues is a story of six young men who are undergoing basic training in 1943 Biloxi, Mississippi, nearing the end of World War II. These men are a melting pot of personalities, religion, race and sexual orientation. With their differences always in mind, this small group of inexperienced men playfully tease one another, each enjoying his time being the top-dog. Plenty of one-liners and zingers delivered by the boys, as well as hilarious situations, leave the audience in an uproar of laughter. Upon their arrival in Biloxi, they are met with Sgt. Toomey, played by the incredible Michael Phillip Thomas, who considers himself to be old-school Army, focused on discipline and obedience by use of a heavy-hand. Ironically, one of the new soldiers is plagued with the need to use the restroom-- very urgently! He begins to wiggle and squirm, all while squeezing his buttocks muscles tighter and tighter together. We cringe at his discomfort, particularly while their new Sergeant takes no pity on the poor bastard, and uses this opportunity to taunt him and to exert his authority over his new proteges. Our protagonist, Eugene Morris Jerome, played by Eric Berg, narrates the audience through experiences such as this by breaking the fourth wall and seemingly reliving it all with the audience as a witness. Additionally, Eugene tells us that his two goals, while in the Army are to lose his virginity and to fall in love--he's happy if one or both come to pass. His attempt at both of these goals makes for some hysterically awkward situations, leaving the audience shaking our heads, as if to remember the uneasiness at times like these in our own lives.
Director Larry W. Cure has constructed a strong cast, leading them through a thought-provoking narrative that sheds light on complex issues and explores what makes each character tick. Cure has managed a team of creative artists whose collaborative works have come together gracefully and seamlessly. Lights, sound and technicalities allow for flawless transitions. Tight cues allow for scene changes that are as smooth as butter. Every detail of the set, props, and costumes adds to an authentic 1940's atmosphere. Aesthetically, this production is on-point and every element merges together to tell a prominent story.
The dynamics that exist among the male characters in this play are muddy and messy, but also meaningful at times. Fights break out, names are called and guns are even drawn. But, truce are made, hands are shook and situations are defused. Perhaps the relationship with the greatest conflict stands between Arnold Epstein, played by John Marshall and Sgt. Toomey, played by Michael Phillip Thomas. These two men are like fire and ice. Epstein's strength is in his intelligence, while Sgt. Toomey holds physical fortitude. They both believe they have all the answers when it comes to the best approaches to leadership. Epstein is just beginning basic training, while Sgt. Toomey is the one in the authoritative role. The battle that exists between them is one of mental strength. Who can win in their battle of wits? Who can endure more pain? Who has experienced the most abuse in life, and has come out stronger in the end? If these two weren't so different, they'd almost be identical. Thomas grasps Sgt. Toomey's ultra-masculine, intimidating characteristic, but as a perceptive actor, allows this personae to drop, ever-so-slightly and just long enough for the audience to understand Toomey on a deeper level. Thomas portrays a delicate, wounded Sgt. Toomey in such a way that we can forgive the character of his sins and begin to advocate for his healing, and this moment is delivered with such beauty, it brought me to tears, which is not an easy thing to do. On the reverse, Marshall illustrates a slender and sickly Epstein, whose strong suit is his smart mouth. He is one who believes that it's better to be right than it is to be tough--therein lies his superiority. Having been bullied all of his life, Epstein has become bitter and angry with the world, especially with authoritative figures like Sgt. Toomey. And, for a short moment, just long enough to have a taste of revenge, Epstein gets the glory. Marshall uses a deliberate tactic, in which he metaphorically pulls the Sergeant into a submissive position, with his face to the floor. In this moment, Marshall delivers a grand triumph to the underdog, and a lesson in authority to the oppressor.
Additionally, the relationship between Eric Berg's character, Eugene Morris Jerome and Lauren Floyd's character, Daisy Hannigan, is wonderfully moving. With only a handful of females in the town of Biloxi, Eugene initially comes to meet Rowena, played by the stunning and skilled actress, Rhonda Triana, who recently gave another outstanding performance in Present Laughter as Miss Erikson. Rowena gives Eugene the confidence he needs to woo young Daisy. Upon meeting at a USO Dance, Daisy and Eugene become instant friends. Once Eugene realizes that he will be leaving basic training and will report to his post, the two become tangled in a knot of emotion and confusion. Will he return? Will she be waiting? Is this just a friendship, or is there something more? Act 2 brings us to the final scene these two characters spend together in the play. In their decision to make the most of the few minutes they have together, we experience an emotional roller coaster right along with them. Floyd takes care to experience the weight of every word Eugene says, allowing herself to be affected by these words, in whatever way he presents them. Likewise, Berg allows himself to wrestle with Eugene's love-sick turmoil, masterfully building an intensity that finally bursts, leaving both characters in an impossible circumstance, for the the time being. As our narrator, he informs us of their inevitable outcome.
Biloxi Blues is cleverly poignant with side-splitting comedy and touching moments of sentimentality-- a beautiful play produced by a fascinating company of artists! Eric Berg returns as Eugene after his incredible performance in Theatre Arlington's Brighton Beach Memoirs--don't miss this chance to see what's to come of our beloved Eugene! August 19-Sept 4. Find tickets at https://theatrearlington.org/production/biloxi-blues/
Audience Rating: R, for mature content and strong language
Accessible Seating: Available
Hearing Devices: Available
Sensory Friendly Performance: Not Available
Production Sound Level: Comfortable Volume
Noises or Visuals to Prepare For: use of a fake/stage gun
Y'all Enjoy!
Natalie Shaw
.jpg)
.png)
Comments
Post a Comment