Susan Granger’s review of “Brooklyn Boy” (Biltmore Theater, 2004-2005 season)
Playwright Donald Margulies proves that it’s easier to take the boy out of Brooklyn than to take Brooklyn out of the boy. Within this semi-autobiographical meditation about a middle-aged writer, Eric Weiss, who has just sold the film rights to his novel, is the concept of identity – that whatever you are in denial about ends up defining you as much as the goals you acknowledge
As the story begins, Eric (Adam Arkin) is seeking approval from his dying father (Allan Miller) in Maimonides Hospital in Borough Park, telling him that his novel is #11 on the Times best-seller list and he’s been interviewed by Katie Couric on the “Today” show. Somewhat estranged from one another, the father and son have always had a prickly, difficult relationship. Later in the hospital cafeteria, Eric bumps into a childhood pal, Zimmer (Arye Gross), who runs a deli he inherited from his father. Conversation is awkward since Zimmer’s obviously jealous of Eric’s success and resentful about being left behind, accusing Eric of basing a character in his novel on himself. Then there’s Eric’s soon-to-be-ex wife (Polly Draper), a Britney-clone college student (Ari Graynor), high-powered producer (Mimi Lieber) and airhead actor (Kevin Isola).
Adam Arkin is brilliant as Eric. The eldest of director/actor Alan Arkin’s three sons, he was born in Brooklyn Hospital and grew up in Brooklyn Heights. With the skillful help of director Daniel Sullivan, set designer Ralph Funicello, costumer Jess Goldstein and the supporting acting ensemble, Arkin transmits Margulies’ heartfelt humor into an emotional theatrical experience.
“Brooklyn Boy” is dedicated to the late Herb Gardner, a fellow Brooklynite whose play “A Thousand Clowns” was the first Margulies remembers seeing on Broadway – at age nine.