Review: BRIGHTON BEACH MEMOIRS at Theatre Three

The world of late 1930s Brooklyn is brought to life and elucidated in Theatre Three’s triumphant run of the Neil Simon classic,”Brighton Beach Memoirs.”

With the opening show on Saturday, January 17, my fellow theatre patrons were already abuzz with the rave reviews they heard of when I went to the Sunday matinee.

Unlike musicals that have so much stage pizzazz going on between the singing, the dancing, and technicolor sets, a straight play like “Brighton Beach Memoirs” relies on making the quiet moments loud and paradoxically turning interiority into a public affair.

The cast accomplished both tasks with grace, humor, and a probing sense of dramatic allegory.

“Brighton Beach Memoirs” follows a Polish Jewish family that is struggling to stay afloat during the end of the Depression and seeing the possible start of another war.

Director Colleen Rebecca Britt’s world of “good ol’ New York” was nostalgic, but very much relevant to today’s political, economic, and social atmosphere and not just with corollary historic events frighteningly parallel to 2026’s headlines.

In this world-building, Scenic Designer, Randall Parsons, Costume Designer, Jason Allyn, and Lighting Designer, Steven Uihlein came together to deliver a bright setting amidst all the greens, browns, and taupes of Brighton Beach. The front door was of particular note because the design and execution gave way to more sunshine and served as a sort of portal to escape from the suffocating expectations of the home. The spotlighting was never intrusive or harsh, but guided along like a friend who knew what the character really wanted underneath the damning sense of duty.

Kiernan Urso as Eugene, the younger brother, was bursting with energy as a result of all the dreams he had in his mind. Urso played that earnest curiosity beautifully while never infantilizing Eugene. His comedic moments, which there was an endless supply of, definitely felt like an homage to “Leave it to Beaver,” but also with the meandering dread of “My So-Called Life,” and maybe a hint of “Game of Thrones” with his revealed crush on his first cousin.

Suzie Dunn as Aunt Blanche carried her heartache over her deceased husband with a tenacity that spoke of the dependence she had on him both in reality and mentally. In instances when possible beau Frank Murphy is mentioned, Dunn had a painfully delightful teenage coquettishness about her that adds to her tragic static state.

Linda May as matriarch Kate was poignant in her deeply felt affection for her family, often holding together their fragile comfort with her soldier-like operation of the household. May’s gait across the stage had a hurried sense of action that added to the fast-paced dialogue and her character’s development into a forced slow-down when husband, Jack and son, Stanley have impediments to providing monetarily for the family.

Michael Shapiro as older brother Stanley played the transition from boy to young man superbly, inviting the audience to witness his moral dilemmas as deep character failings in his mind. The struggle he shows when the poker tragedy is revealed is confessional and vivid as what will push him forth to responsibility. Urso and Shapiro’s chemistry as brothers was apparent and engaging in their back-and-forth discussions on growing up.

Angelo DiBiase as patriarch Jack had a performance with enough gravity to ground the whole cost. When he physically struggles carrying packages in his first appearance, DiBiase makes that weight on his literal shoulders felt by the audience with his tenacity to bring the best into his home, even if they are scraps.

Emilia Guzzetta’s Nora had a Grace Kelly aura in looks, but a Joan Crawford spirit in determination. Guzzetta’s plays Nora’s earnest belief in the promise of a lucrative dance career with all the hope that is absent from the other female characters who feel boxed into their lives, is both heartfelt and steadfast in wanting to better everyone’s lives.

Erin Risolo as Laurie depicted the brat-persona so well and basked in the hospital bed-side manner she was treated with by her aunt. Risolo’s crestfallen expressions as the reality of life begins to catch up to her pampered life are exquisite.

Peter Marciano as Dialect Coach developed the accent that strung together the cast as a unit like Christmas lights on a string (yes, I know they’re Jewish). The clear distinction of a Jewish Brooklyn accent (vs. Italian vs. otherwise generalized Kings county voice) made the words, elocution, and message reverberate that much more. And as a Queens kid with a Bronx dad, the meticulous steps taken to develop the RIGHT New York City accent was much appreciated.