Brothers-in-Law presented by Act II Playhouse in Ambler, PA

Theater: Act II Playhouse
Show: Brothers-In-Law
Opened: March 11, 2008
Seen: March 12, 2008
Reviewer: Amy Lewis
Submitted: March 13, 2008

Act II Playhouse in Ambler continues to go from strength to strength. The fourth show in what has been a spectacular 2007-2008 season, Brothers-In-Law embodies everything that makes Act II so successful - great play selection, perfect casting, intelligent direction and excellent production values. Pair these qualities with Act II's charm and a wonderful evening of theatre unfolds.

To start, Jeff Baron's script is simply outstanding. As polished and gripping as a play that has been through several incarnations, it's hard to believe that this is Brothers-in-Law's world premiere, having been discovered at a play reading by Act II's artistic director, Steven Blumenthal. Running 90 minutes with no intermission, the show seems much shorter, as one's attention is never lost throughout its duration. The characters are thoroughly developed and the plot so intriguing/entertaining that the audience becomes engrossed and invested in a piece that boasts only two actors and one set. A testament to excellent craftsmanship, though, Brothers-in-Law is more entertaining than the splashiest, large-scale Broadway musical.

The plot centers on Fred and Richard, two brothers-in-law who are not particularly fond of each other because of preconceptions and assumptions they have made about each other over the years. During their mother-in-law's funeral the two find themselves in the basement of her house, which served as their father-in-law's place of retreat. As the two begin to question each other's motives and lifestyle, they begin to discover the hidden depths each possesses. It's powerful, touching and very, very funny.

With only two actors in the piece, casting was crucial for Brothers-in-Law, and Act II could not have made two better choices. Tom McCarthy and Kraig Swartz are so perfect for the roles they play that one could easily think the parts were written for them. Their performances are so strong that praise must be given for both their individual and collaborative work; both personify their characters flawlessly whilst relating to their counterpart at all times, allowing every poignant moment of the play to resonate with the audience.

Tom McCarthy shines as Fred, a middle-aged truck driver with a gruff exterior but a sensitive heart. Bearing more than a passing resemblance to and demeanor of Caroll O'Connor, McCarthy takes Fred beyond the cliché of a grumpy old softy and makes him a complex and fascinating character. McCarthy's performance is infused with nuance and intrigue, as there is clearly something he is keeping inside but can't seem to verbalize. As his shell begins to crack and Fred lets Richard in a little, McCarthy reveals Fred's touching purity and grace.

Kraig Swartz is note perfect as Richard, a seemingly shallow and vain perfectionist with huge insecurities. Swartz, like McCarthy, colors his characterization beyond cliché and creates a multifaceted human being with whom the audience can sympathize. Swartz brings the boyish charm of Matthew Broderick that endears him to the viewer, yet in the same breath layers in an acidic, cerebral wit that makes him utterly fascinating to watch. As Richard's façade begins to crumble, Swartz unveils a vulnerability that is profound.

The production team at Act II augments this already impressive package with their trademark skill and intelligence. Harriet Power's direction is astute and comprehensive, ensuring that there are no wasted moments on stage. Every one of the 90 minutes of the play's running time is significant and fascinating, no doubt the result of careful script analysis and an effective rehearsal process.

It is difficult to single out one particular member of the design team when each has done such excellent work. John Hobbie's Scenic Design perfectly realizes the details given about the lives of the deceased parents-in-law, and Jessica Risser-Milne's costume design demonstrates an acute understanding of characterization. Rounding out the team are James Leitner and Matthew Aaron, whose Lighting and Sound Design, respectively, complete the manifestation of Richard and Fred's world.

Brothers-in-Law is a first-class production from top to bottom and the Philadelphia area should thank Act II for bringing its world premiere here. The show is a complete package, and anyone interested in seeing a great piece at its extremely precocious infancy should get out to Ambler before New Yorkers start claiming it as their own. Brothers-in-Law is every bit worthy of Broadway, but, for the moment, the show and Act II Playhouse are a perfect marriage.

Editor's Note: For More Information About Brothers-in-Law, See This Report And Listen To The Interview!