Eureka Day

A built-in weakness in some comedies of ideas is that one side of an argument may simply be right. As someone who believes strongly in vaccines, I thought Eureka Day might have to wrestle with this weakness. But playwright Jonathan Spector, while not supporting the  anti-vax stance per se, does show how someone could legitimately and honestly see vaccines as dangerous and even deadly. He pulls this off in a context of good-hearted, super-woke people trying to keep safe the children of the Eureka Day School. (The illness in question is mumps. The show predates COVID.)

Bill Irwin, Thomas Middleditch, Amber Gray,
Jessica Hecht, Chelsea Yakura-Kurtz
Photo: Jeremy Daniel

While sensitively dealing with woke-ness, inclusivity, accidental racism, and other difficult topics, Eureka Day is also extremely, extremely funny. I've rarely been in an audience that laughed that loud for that long.

The cast is largely excellent, including Jessica Hecht, Amber Gray, Thomas Middleditch, and Chelsea Yakura-Kurtz. Only Bill Irwin disappoints, with a twitchy performance that lacks a specific character. The excellent direction by Anna D. Shapiro keeps the emotions, humor, timing, and characters in balance, while always providing clarity as to where our attention should be. 

Wendy Caster

This is Our Youth

Photo Credit: Michael Brosilow

In 2014, a play written in 1996 and set in 1982 is making its Broadway debut. Still with me? The play is This is Our Youth, the first major work by Kenneth Lonergan, who went on to earn an Academy Award nomination for the smart and touching film You Can Count on Me and make the Pulitzer shortlist for The Waverly Gallery. Some might consider This is Our Youth a modern classic: the acclaimed, extended original run in New York is often cited as a breakthrough not just for Lonergan but its original star, Mark Ruffalo; a long-running London production featured the likes of Matt Damon, Jake Gyllenhaal, Anna Paquin, Freddie Prinze Jr., and Chris Klein, to name just a few. Nearly twenty years after its premiere (and thirty years after it’s meant to take place), it’s on Broadway for the first time, in a production that’s billed as a “comedy” and coming direct from a well-received run at Chicago’s Steppenwolf Theater. I suppose the question is, does the play stand the test of time?

My answer, in short, is no. This handsome but lifeless production, staged by Tony winner Anna D. Shapiro and featuring the Broadway debuts of Michael Cera, Kieran Culkin, and Tavi Gevinson, shows that what was once perhaps an immediate and recognizable appraisal of the play’s title “youth” has become not much more than a creak-ridden museum piece. It doesn’t help, either, that one member of the central acting trio is severely miscast.