Miriam and Esther are two sisters from the privileged enclave of New York City’s Upper East Side, whose parents were embedded in the arts community Their biological father, a successful concert pianist, died young. Their mother, an unsuccessful opera singer, remarried a highly successful businessman and patron of the arts who became their stepfather.
At the time of the play, said stepfather has passed away (Mom died years earlier) and the two sisters, who have not seen each other in years, have returned to his apartment to go through cartons of memories. This activity leads to extensive reflections on their childhoods, their family relationships, and their differing life paths.
This rather cliched set up (children gathered after the death of a parent, reflecting on their memories) follows a predictable pattern. One sister left the unhappy home and their over- controlling, unkind stepfather, leaving the other to feel abandoned. The central mystery of the play is why did the sister leave? It is no surprise to discover the all-too-easy-to-anticipate explanation that the stepfather had treated her inappropriately after gifting her with a diamod pedant on her 16th birthday.
Andrea Gordon’s script is servicable, but lacks sparkle, plodding at a steady pace to an unexciting conclusion.
The production is not without some charm. The ambience of 1980’s New York is brought to life very well in the mannerisms and memories of the sisters. The references to historical events, a few amusing name droppings, and details of New York geography do capture audience interest. The use of songs from the musicals of the girls’ childhood is a charming device. The sisters, Miriam and Esther, are played competently by Ellen Brooks and Janet Roitz.
The best parts of the evening are provided by Merrill Grant and RP Welsh who play the sisters’ deceased Mom and biological Dad. Merill Grant sings several operatic arias very well and RP Welsh dances superbly. An extended scene in which the two dance as they review the years of their marriage is charming, and, though spoken, plays like an extended duet in a musical comedy. It works.
This world premiere is certainly not bad, but somehow fails to rise. It would benefit from further workshopping and script doctoring, and perhaps more of Mom and Dad.
The production elements are up to the high professional standards of a distnguished team including Nina Ball (set), Beaver Bauer (costumes), Kurt Landisman (lights), and Chris Sauceda (sound).
“Miriam and Esther Go to the Diamond District” plays at the Magic Theater in Fort Mason through January 25th, 2025. For further information, click here.
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Rating: **1/2 (For an explanation of Theatrestorm’s rating scale, click here.)
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“Miriam and Esther Go to the Diamond District” by Andrea Gordon. Produced by Rainbow Zebra Productions. Director: Andrea Gordon. Scenic Design: Nina Ball. Costume Design: Beaver Bauer. Lighting Design: Kurt Landisman. Sound Design: Chris Sauceda. Dramaturg: Lee Brady.
Cast:
Miriam: Ellen Brooks. Esther: Janet Roitz. Mom: Merrill Grant. Dad: RP Welsh.
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