By Jennifer Mustoe
Last year, we attended Simon Fest’s Broadway Bound, part of Neil Simon’s Eugene Trilogy and were so blown away by it we saw it twice. Biloxi Blues is the second installment in the semi-biographical trilogy, about Simon’s induction into the Army in WWII, presented first in Cedar City for the summer Simon Fest and now at the Egyptian Theater in Park City for only four performances. Biloxi Blues has the typical Simon angst mixed with comedy that makes his shows ones you laugh at but also think about. All his shows have the dark and the light, probably because he so fully pulls from real life–his own and those he observes. There is even a line in Biloxi Blues where one of the servicemen in Eugene’s platoon says that Eugene is an observer, always writing in his little notebook, but doesn’t really jump in and live life.
As always with Simon Fest productions, the acting and directing is top notch. Eugene, played by Quinn Osborne, actually plays two roles. Eugene, the character in the show is a Private in an Army boot camp in Biloxi, Mississippi to prepare to be shipped out to an island in the Philippines. Osborne is a wonderful actor, excellent Brooklyn accent, who seems to really understand what it means to be narrator as well as character in the show. As narrator, Eugene steps from the action in a spotlight and gives a little, usually funny explanation of not only what is happening, but his take on it–his feelings and opinions of what is transpiring. In his role as Narrator, we did wish that one, the spotlighted moments would have stayed one beat longer to let the audience absorb what Eugene was saying (because this is really the meat of the story), and that Osborne would have shown a little difference between Eugene/Character versus Eugene/Narrator, because of the comment that E/C was actually an observer and not always involved in the action. We’d like to have seen him somewhat reserved in the part of the role and more animated as Narrator. This may have been Osborne’s choice or one Director Clarence Gilyard (who plays Sgt. Toomey) envisioned. Nevertheless, Osborne is wonderful and plays Eugene (aks Neil Simon) magnificently.
The other soldiers, Max Kunz as Roy Selridge, Devin Anderson as Joseph Wykowsky, Joseph Price as Arnold Epstein (who really is the focus of Biloxi Blues, and James Hennesey as Ben Cano have all that one would want in a group of young, inexperienced, trying to be tough but may be scared to death Privates about to face warfare. Each characters is wonderfully particular and specific and it is fascinating to see these men truly embrace their roles. Because I didn’t see a fight coordinator listed, the tussling that goes on must have been created by the director and those actors involved, but it looks very true to life and provides just enough tension and/or humor to keep the plot moving along quickly and enjoyably.
Toomey is as crabby as one would expect from a Drill Sargent, but he is also slightly off–meaning he seemed nuts, even for the Army . Let’s just say, he scared me. And while I know his job is important to toughen up these young men, his role was hard for me to handle. Which is what is supposed to happen. Toomey is exceptional as both actor and director.
The other actor whose story made me uncomfortable (in a poignantly good way) is that of Epstein, played sensitively by Price. Oh my goodness. He is the picked on one, not just because he’s Jewish but because he’s smart, and it is painful to watch. Price handles Epstein’s brilliance, anger, and despair marvelously and I really only watched him when he was onstage.
Eugene’s hope when he goes on a 72-hour pass is to lose his virginity and fall in love. In Act Two, he does both. Rowena, the world-wise prostitute, played by Holly Barrick helps Eugene achieve his first “goal” and Kenna Fullmer as the lovely Daisy Hannigan is Eugene’s love interest. I love that Eugene was able to accomplish the goal of falling in love. It gave Biloxi Blues more than just the harshness of impending war and the roughness of the men when they are in the barracks.
Scenic Designer Michael Harvey has enough pieces that double as seats and tables and bunks, that give the stage a sparse, military flair. Lighting Designer Rebekah Bugg keeps the tone and mood exactly as soft or harsh as is needed. Costumes by Jen Bach are excellent. I’m not sure why, but I was especially impressed with every serviceman wearing the same shoes. So professional.
I will be really honest, though. I loved last year’s Broadway Bound. Though it was rated PG-13 for language, I was slightly unprepared for the crudeness of Biloxi Blues. All those Privates talking about their privates and all the women they want to hump. Yes, I’m saying that in the review because that is what you will hear when you attend the show. I was okay with what was happening onstage, but as a reviewer, I want to prepare you. In the audience, there were mostly senior citizens, and I’m wondering if they were most interested because they may remember WWII. But this is not anything like the plays and movies from the 50s and 60s about WWII. It is way more realistic, which has great merit. Eugene’s narration keeps things light-ish, but the underlying darkness stuck with me long after the show ended. This is classic Simon, so fans of this playwright will love this production with its excellent cast.
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The Neil Simon Festival presents Biloxi Blues by Neil Simon
Egyptian Theater, 328 Main Street, Park City, UT 84060
July 15-18, 2018
Tickets: $15 and up
Egyptian Theatre Facebook Page
Egyptian Theater Contact: 435-649-9371
Neil Simon Festival Facebook Page
Neil Simon Festival Contact: 435-327-8673
Biloxi Blues Facebook Event
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