March 25, 1988 |
Pvt. Eugene Morris Jerome (Matthew Broderick), a New York kid in boot camp in the deep South in 1943, wants to be a writer. So every day he files his thoughts in a notebook, then stows the book in his foot locker. One night, a platoon mate takes out the notebook and makes Eugene's private thoughts public. One of the men, he reads aloud, is "an animal," but probably the best soldier of the bunch; one is a good guy, but somehow untrustworthy; one, Eugene suspects, is homosexual. Eugene breaks in on this dramatic recitation, and responds to his outraged buddies that he doesn't really think those things about them.
February 2, 1995 |
Neil Simon's I Ought to Be in Pictures will be staged tomorrow through Feb. 18 by The Marple-Newtown Players Community Theater at the Robert C. Gauntlett Center in Newtown Square. This comedy tells the story of Herb Tucker, a writer reunited with his teenage daughter after a separation of 13 years. Performances are at 8 p.m. Fridays and Saturdays. Admission is $7.50 for adults, $5 for senior citizens and children. Group rates are available. The Gauntlett Center is at West Chester Pike and Media Line Road.
April 10, 1995 |
After 29 Broadway productions in 34 years, Neil Simon has taken up residence Off Broadway. His motives are purely economic: Except under exceptional circumstances, it's no longer possible for a nonmusical without major stars to pay Broadway's stifling production costs and turn a profit. But you might be forgiven for thinking that London Suite, which opened last night at the Union Square Theatre, has been tucked away on East 17th Street for reasons of anonymity. In other words, this new anthology will do Simon's reputation no favors.
December 25, 1986 |
In reviews of his current Broadway hit Broadway Bound, Neil Simon recently found himself chastised by critics for writing a very good play instead of a great one. One of the charges against him is that, as he moves into more sobering and semi-autobiographical territory, he is still loath to discard the crutch of comedy. This argument has always been with Simon, but it began to heat up when he wrote Brighton Beach Memoirs - the first play in the trilogy completed by Biloxi Blues and Broadway Bound.
April 7, 1990 |
Neil Simon had an incredible string of theatrical successes come to an end with Thursday's announcement that his newest play, Jake's Women, would close out of town and would not play Broadway. The piece, about a man taking stock by having imaginary conversations with the women in his life, closes April 15 at San Diego's Old Globe Theater. "I couldn't make a clear decision on what to fix and what not to fix," said Simon, who has brought 24 plays to Broadway in the last 30 years. "I think that going to New York with a show that's not going to make it would have been wrong . . . especially at the prices they charge today.
October 24, 1989 |
A production of a Neil Simon play that does a good job with the playwright's humor should send a theatergoer away satisfied. With Broadway Bound, though, funny is not enough. The theatergoer expects dramatic impact as well, and that is what's lacking in the production at the Cheltenham Center for the Arts. Broadway Bound is the last of Simon's trilogy of plays loosely based on his own youth. Brighton Beach Memoirs deals with the teenage years of aspiring writer Eugene Jerome; Biloxi Blues follows him into the Army.
October 29, 1987 |
Eugene Jerome, who wants to write comedy, tells us early in Broadway Bound that it would be simpler just to sell tickets to his family's living room in Brighton Beach. And that is precisely the impression that Neil Simon gives us in this third and by far best play in his autobiographical trilogy. We get the sense of life being helplessly and tragically funnier than anything a writer could invent. The national company, headed by Carole Shelley in a surprisingly authoritative performance, opened a four-week run last night at the Forrest Theater.
September 9, 1997 |
Biloxi Blues is the only one of Neil Simon's semiautobiographical trilogy of plays, about a writer's formative years, to win a Tony Award for best play. Of the three, it is the least deserving of the award. Both Brighton Beach Memoirs and Broadway Bound, the other works about writer-to-be Eugene Jerome, are more dramatically effective, more emotionally satisfying pieces of theater. But, of course, Biloxi Blues wasn't competing against its own companion plays for the 1984 Tony, and the reasons it outscored the plays with which it was competing are obvious in the fine production the play is receiving at Hedgerow Theatre.
January 6, 1994 |
Broadway Bound, a Neil Simon comedy that is a sequel to Brighton Beach Memoirs, opens at 8 p.m. tomorrow at the Colonial Playhouse in Aldan. The story tells of two brothers trying to become television writers. The show will be performed at 8 p.m. Saturday and at 3 p.m. Sunday. Tickets are $8 for evening performances and $7 for the matinee. The theater also is holding an audition at 7:30 p.m. Monday for the show Sabrina Fair. The performances are scheduled from April 15 to 30. For information, call the director, Dick Croft, at 626-8799.
December 5, 1986 |
Linda Lavin and Jonathan Silverman in "Broadway Bound," a new comedy by Neil Simon. Directed by Gene Saks, set by David Mitchell, costumes by Joseph G. Aulisi, lighting by Tharon Musser, sound by Tom Morse. Presented by Emanuel Azenberg at the Broadhurst Theatre, 44th St. west of Broadway, New York. One quickly notices that Neil Simon once again has muted the laugh track for this, the third and presumably last leg of his semi-autobiographical trilogy centering upon the character of Eugene Morris Jerome, the quick- witted young diarist of "Brighton Beach Memoirs" and "Biloxi Blues.