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Regional Reviews: Phoenix Biloxi Blues Also see Gil's review of Disney's Beauty and the Beast
In 1943, 20-year-old Eugene Morris Jerome leaves Brooklyn, New York, bound for basic training in Biloxi, Mississippi, with a group of newly drafted recruits. It's a sweltering summer in Biloxi, made worse by harsh platoon leader Sergeant Toomey, who relentlessly torments the men to instill discipline. Toomey also picks scapegoats among the recruits, fueling tension within the group. Eugene, aspiring to be a writer, keeps a journal of his observations and tries to stay out of trouble while hoping to lose his virginity and fall in love, ideally with the same girl. The play presents a lively group of characters, including the intelligent Arnold Epstein and the tyrannical Toomey, and centers on Eugene's journey away from home, along with Epstein's ongoing clash with Toomey. Through Eugene's narration, Simon highlights the young recruits' lives as they await deployment, weaving in humor and realism as he addresses themes like anti-Semitism, homophobia, ethnic prejudice, and military discipline. Simon's plays are almost always filled with sharp writing and vivid, well-defined characters. Here, he effectively captures the fear and anxiety of young recruits awaiting deployment but also weaves in nostalgia and humor amid the unsettling realities of wartime. However, while Biloxi Blues is a fine drama with moments of comedy, it lacks the deep emotional resonance of Brighton Beach Memoirs and the mature introspection of the third play in the series, Broadway Bound. While it balances humor with its serious moments effectively, it is somewhat episodic in structure and relies on stereotypical characters; Toomey is one we've seen in countless other films and TV shows. Because of that, it often feels less cohesive and emotionally grounded at times. Also, the play's military setting, while authentic and based on Simon's actual experience, limits the relatability found in the family-focused narratives of the other two plays, making it feel less personal and universal. While compelling, the central conflict between Epstein and Toomey occasionally overshadows Eugene's coming-of-age journey. Epstein says that Eugene is an invisible witness to the events around him and, while Eugene also narrates the other plays in the series, perhaps in Biloxi that outsider feeling is more prominent since he doesn't already have such a tight, years-long bond with the other characters, which makes the play somewhat less impactful. This isn't to say that Biloxi Blues isn't a well-written play as it is–it's only to give some understanding as to why I believe that it's not quite as good as the other two plays in the trilogy. Fortunately, the cast and creative team all deliver wonderfully. Director Gil Berry, who also helmed Brighton Beach Memoirs earlier in the season, effectively balances the comedic and dramatic tones, drawing well-defined performances from his cast. Although the story centers on Eugene, it's Epstein and Toomey who have the most powerful scenes, and Berry ensures these moments are authentic. The pacing is natural and the comic timing of the cast is sharp, allowing the jokes to land effectively. Despite the play spanning only a few months, Berry brings out the character's growth and the lessons they learn over those months with clarity. Elias Matthews brings depth and nuance to his role as Eugene, skillfully navigating the serious exchanges with Epstein, his lighthearted yet awkward encounter with Rowena, the no-nonsense prostitute, and his tender moments with the sweet-natured Catholic schoolgirl, Daisy. Matthews' expressive eyes and droll narration add a fresh, innocent perspective to the antics of his fellow recruits. His humorous yet serious interactions with the two female characters capture Eugene's naïveté. He also has strong chemistry with the rest of the cast, delivering a well-rounded, compelling portrayal of this young man's journey. If you saw Brighton Beach Memoirs earlier this season, you know how great Matthews was as the frustrated teenager Eugene. Now, as the 20-year-old version of the character, he comes across older and surer of himself, yet now he's the fish out of water who is inexperienced in love and in the ways of the armed services. Manny Brion shines as Epstein, bringing depth to this intelligent, soft-spoken, and stubborn character who refuses to conform to army protocol, even at the cost of his dignity. Brion effectively portrays Epstein's struggle to maintain self-respect, unafraid to face off against both Sergeant Toomey and his fellow recruits. His performance makes Epstein's resilience both moving and admirable. Equally impressive is Mike Romano's portrayal of Sergeant Toomey. Romano brings an intense and intimidating presence to the overbearing Southern sergeant, maintaining a controlled and authentic consistency that keeps the character from slipping into caricature. His performance in the second act, when Toomey appears drunk, is particularly realistic and powerful, capturing the sergeant's inner conflict and how the fear of the unknown can be frightening not only to the young recruits but also to a sergeant with years of experience. The other recruits, played by Jack Osgood, Benjamin Rogers, Reed Shepherd, and Rone White, bring lively and distinct personalities to their somewhat broadly drawn characters, each actor staying true to his role without turning it into a caricature. Shepherd is particularly effective as the hesitant Carney, while Osgood nails the brash, bigoted Wykowski. Rogers brings a perfect cockiness to Selridge, and, in a smaller role, White gives a sensitive portrayal as Hennessey, the soft-spoken recruit who often finds himself to be the peacemaker in the barracks. Gwyneth Doebbeling brings an authentic charm to Daisy, the innocent schoolgirl who captures Eugene's heart, beautifully portraying her sweet yet cautious nature. Lauren Miller is equally convincing as Rowena, the no-nonsense prostitute who approaches her work with a straightforward attitude. Set designer Jeff Blake cleverly uses just a few movable set pieces to seamlessly transition from the barracks set to the other locations in the play. Costume designers Mickey Courtney and Samantha Phillippi bring authenticity to the period with accurately styled khaki army fatigues, while Daisy and Rowena's outfits are period perfect. Ross Collins' lighting design is understated yet effective, establishing day and night with bright, warm tones for daytime and dark, moody hues for night scenes; the use of spotlights during Eugene's narration scenes helps keep the audience engaged as the cast changes the set in the background. With a talented cast and concise direction, Biloxi Blues at Fountain Hills brings compelling characters to life with humor and depth. Though part of a trilogy, the play stands on its own, so if you missed Fountain Hills' production of the first play in the series, you'll still be able to fully appreciate the charm and impact of this humorous coming-of-age tale. Fountain Hills will present the third play, Broadway Bound, from February 28 to March 16 with the cast who played the same characters in Brighton Beach Memoirs, including Matthews as Eugene, all returning. Biloxi Blues runs through November 24, 2024, at Fountain Hills Theater, 11445 N. Saguaro Blvd., Fountain Hills AZ. For information and tickets, please visit www.fhtaz.org or call 480-837-9661. Director: Gil Berry Cast: (In alphabetical order) |
