Legacy OFF-BROADWAY REVIEWS

Photo: T .Charles Erickson
  • NY TIMES

  • Opening Night:
    July 1, 2015
    Closing:
    July 12, 2015

    Theater: Williamstown Theatre Festival / 1000 Main Street, Williamstown, Massachusetts, 01267

    Synopsis: 

    Tony Award-nominee Jessica Hecht and Drama Desk Award-winner Eric Bogosian couple up for the world premiere of Daniel Goldfarb‘s funny and turbulent "Legacy." When renowned novelist Neil Abrams (Bogosian) is panned by The New York Times, he reopens the conversation with his wife Suzanne (Hecht) about starting a family. As Neil copes with feeling increasingly antiquated and culturally irrelevant, and Suzanne begins a relationship with one of Neil’s brilliant grad students (Feiffer), the equilibrium of their marriage is threatened. Directed by Obie Award-winner Oliver Butler, this thoughtful drama exposes the cost of trying to will our own legacy.

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  • NEW YORK TIMES REVIEW OF Legacy

    ‘Legacy,’ an Uneasy Comedy of Morals at Williamstown Festival

    Ben Brantley

    July 6, 2015: Lifetime movies and Philip Roth don’t usually pop up in the same frame of reference. Yet it’s hard to avoid thinking of both those sudsy topical television films and the author of “Portnoy’s Complaint” as you watch “Legacy,” Daniel Goldfarb’s uneasy comedy of morals at the Williamstown Theater Festival here. You might even, if you were in a whimsical mood, perceive this play as a sort of custom-made fantasy purgatory whipped up for Mr. Roth, a just dessert of womanly woes served to a writer who has sometimes been accused of misogyny. Not that Mr. Goldfarb, a dramatist who specializes in anatomies of Jewish identity (“Modern Orthodox,” “Adam Baum and the Jew Movie”), probably had any such objective in mind. Though the tone of his latest offering is often flippant, its concerns are anything but frivolous. Mr. Goldfarb has said he conceived this work as a contemporary reimagining of the biblical tale of Abraham and Isaac, in which the limits of a father’s faith are tested by a child-sacrifice-demanding God. That aspect of the play doesn’t become fully apparent until the second act, in a genuinely harrowing scene centered around a life-taking medical procedure.

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