Philadelphia, Here I Come! Off-Broadway Reviews

Under O’Reilly’s steady direction, Philadelphia can sometimes feel like the dramatic equivalent of “old Screwballs” — it’s straightforward and decent and, theatrically, not given to unpredictability. Still, some of the production’s stro...

Under O’Reilly’s steady direction, Philadelphia can sometimes feel like the dramatic equivalent of “old Screwballs” — it’s straightforward and decent and, theatrically, not given to unpredictability. Still, some of the production’s strongest moments are the play’s sketches of its menfolk. It’s in these scenes where Friel’s observational powers most fully emerge, his deftness with people who live right on the edge of caricature and yet, in startling lucid glimpses, can sense their own absurdity and helplessness.

In Irish Rep’s new staging, masterfully helmed by producing director Ciarán O’Reilly, that voice is relayed by a young musical theater veteran, A.J. Shively, whose formidable footwork was a high point of Broadway’s overstuffed “Paradise Squa...

In Irish Rep’s new staging, masterfully helmed by producing director Ciarán O’Reilly, that voice is relayed by a young musical theater veteran, A.J. Shively, whose formidable footwork was a high point of Broadway’s overstuffed “Paradise Square.” As Private Gar, Mr. Shively gets a more modest but wittier showcase for his song-and-dance skills — both Gars sing, and here they also jump and prance about nimbly — as well as a vehicle for his considerable gift with accents. His Gar, in dialogue with his public self, imagines himself in roles ranging from a posh British radio announcer to an old-school Hollywood screen siren.

O’Reilly does bravura work both directing and portraying the hardened Screwballs. The veteran artist clearly knows the play all too well. Every scene, every character is crafted with a precise touch and he adds nuanced dimension in the most unexpec...

O’Reilly does bravura work both directing and portraying the hardened Screwballs. The veteran artist clearly knows the play all too well. Every scene, every character is crafted with a precise touch and he adds nuanced dimension in the most unexpected ways. The combined effect makes the production feel much bigger than the Irish Rep’s cramped stage might at first suggest. Kudos as well to set designer Charlie Corcoran and costumer Orla Long for capturing just the right tone in setting place and time.

Both actors are phenomenal. The Gars start out kidlike, doing their favorite bits up in his/their bedroom (nice, spare set design by Charlie Corcoran). Simultaneous psyched and scared to be heading off, the pair co-mimic, among other bits, John Wayne...

Both actors are phenomenal. The Gars start out kidlike, doing their favorite bits up in his/their bedroom (nice, spare set design by Charlie Corcoran). Simultaneous psyched and scared to be heading off, the pair co-mimic, among other bits, John Wayne astride a battered old suitcase and Elvis rendering Gar’s gloss on the Al Jolson song that gives the play its title.