Review: ‘Philadelphia, Here I Come!’

With Brian Friel's new "Molly Sweeney" opening to acclaim in Dublin, the Roundabout Theater Company does Broadway a service by reminding us of the playwright's rich beginnings. Any production of "Philadelphia, Here I Come!" is only as successful as its attempts to convey, as one character puts it, "this loneliness, this groping," that traps Friel's endearing characters.

With Brian Friel’s new “Molly Sweeney” opening to acclaim in Dublin, the Roundabout Theater Company does Broadway a service by reminding us of the playwright’s rich beginnings. Any production of “Philadelphia, Here I Come!” is only as successful as its attempts to convey, as one character puts it, “this loneliness, this groping,” that traps Friel’s endearing characters. By that or any other standard, the Roundabout production is a fine revival.

As well it should be, directed as it is by longtime Friel collaborator Joe Dowling. The former artistic director of Dublin’s Abbey and Gaiety theaters, Dowling steers a crack ensemble through Friel’s heartbreaking Gaelic terrain. “Philadelphia” is one more notch in the Roundabout’s growing reputation as Broadway’s most consistent provider of quality fare. First produced in 1964, “Philadelphia” is an early glimpse into the author’s oft-revisited fictional Irish village of Ballybeg. Set in the early 1960s, the play traces the final evening and morning of young Gareth O’Donnell’s life in his native land: He’s heading for Philadelphia, in part to escape a stifling homelife with his cold, seemingly unloving father, S.B. O’Donnell (Milo O’Shea).

But leaving doesn’t come without pain and trepidation. The 25-year-old Gareth must say goodbye, probably forever, to Madge (Pauline Flanagan), the beloved housekeeper who helped raise him, and Kate (Miriam Healy-Louie), the girl he loved and lost.

It doesn’t help that he’s moving to America at the invitation of an aunt (Aideen O’Kelly) he hardly knows, having seen her only once, and at her drunken worst.

But the tie that binds the tightest is the boy’s unfinished business with his emotionally stingy father, an old man with “dead eyes and a flat face.”

If the man would only break through the household’s numbing predictability by saying something honest and caring, Gar just might be persuaded to stay. In the end he leaves, “but perhaps with doubts.”

Actually, Gar is nothing if not filled with doubts and conflict. And here is where Friel works what can either be theatrical magic or gimmick. Two actors play the character, one the “public” Gar and one the “private.” They debate, taunt and console one another, the private Gar giving voice to the proud, wounded boy’s true feelings.

At the Roundabout, the device comes close to magic, what with the casting of Jim True as the public Gar and Robert Sean Leonard as the private. Neither of these charming, garrulous performers hits a false note in their emotional pax de deux, nailing the restless ambition of youth, the terror of the unknown and a young man’s childlike longing for love.

Equally fine is Flanagan as the loving Madge and O’Shea as the gruff father. O’Kelly all but steals the second act as the drunken, pitiful Aunt Lizzy, turning what verges on stereotype into poignance. Rest of the cast, as various villagers and visitors, rounds out a terrific ensemble.

Played against John Lee Beatty’s convincingly rustic country house set, Dowling finds the delicate blend of exuberance and yearning that marks much of Friel’s work, even if “Philadelphia” is short on the poetry that would lift later Ballybeg excursions like “Dancing at Lughnasa.”

By now, there’s a certain obviousness in the relationship between father and son detailed here, and some might even find the goings-on a tad maudlin. But few won’t be moved by the two Gars catching their last glimpse of the old housekeeper, or feel the frustration of possible connections missed.

Philadelphia, Here I Come!

Roundabout/Criterion Theater, New York; 499 seats; $47 top


A Roundabout Theater Co. revival of a play in three acts by Brian Friel; directed by Joe Dowling.


Set, John Lee Beatty; costumes, Catherine Zuber; lights , Christopher Akerlind; sound, Philip Campanella; production stage manager, Lori M. Doyle; artistic director, Todd Haimes. Opened Sept. 8, 1994, reviewed Sept. 6 . Running time: 2 hours, 40 min.


Madge - Pauline Flanagan
Gareth O'Donnell in Public - Jim True
Gareth O'Donnell in Private - Robert Sean Leonard
S.B. O'Donnell - Milo O'Shea
Kate Doogan - Miriam Healy-Louie
Senator Doogan - Peter McRobbie
Master Boyle - Jarlath Conroy
Lizzy Sweeney - Aideen O'Kelly
Con Sweeney - James Murtaugh
Ben Burton - Robert Stattel
Ned - Joel James Forsythe
Tom - Timothy Reynolds
Joe - Gregory Grene
Canon Mick O'Byrne - Leo Leyden
Want to read more articles like this one? SUBSCRIBE TO VARIETY TODAY.
Post A Comment 0

Leave a Reply

No Comments

Comments are moderated. They may be edited for clarity and reprinting in whole or in part in Variety publications.

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

More Legit News from Variety