On the verge of death for the umpteenth time, Anna (Linda Lavin) makes a shocking confession to her grown children: an affair from her past that just might have resonance beyond the family. But how much of what she says is true? While her children try to separate fact from fiction, Anna fights for a legacy she can be proud of. With razor-sharp wit and extraordinary insight, Our Mother's Brief Affair considers the sweeping, surprising impact of indiscretions both large and small.
No one plays Jewish mothers with secrets better than Linda Lavin...You recognize these women right away, because Lavin plays them so hilariously to New York Jewish type: She has a cartoonist's control and economy of line. But to recognize them is not, it turns out, to know them...Greenberg's writing is elegant and keenly epigrammatic...Directed with canny ambiguity by Lynne Meadow, Our Mother's Brief Affair lets you to wonder how much this scandal has been retouched. But there is no doubt as to the casual mastery that Lavin, at 78, brings to the part. Shifting in and out of the past, elevating one-liners to three-dimensionality, she brings a lifetime of command to the stage. She owns this part and claims it like nobody's business but her own.
Linda Lavin is alternately sardonic and fragile in the New York premiere of Richard Greenberg's drama 'Our Mother's Brief Affair'...The notion of 'legacy' weighs heavily in the drama, which touches on themes such as the suburban dream, and the desire, when one's life is nearing its end, 'to be known'...Lavin...paints a balanced portrait here, as a Long Island mom who dutifully raised two kids despite being in a marriage that was never romantic... Greenberg...is making a point about 'scale,' that some loads we carry through life-the burdens that bring us shame-are worse than others, and that after a point we must forgive ourselves. It's a point I'd gander he might have made more elegantly without the plot twist, but nonetheless, with Lavin leading the cast, it's a beautifully performed play.
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