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Broadway Bound, by Neil Simon
Download PDF Broadway Bound, by Neil Simon
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Comedy
Characters: 4 male, 2 female
Combination interior set.
Part three of Neil Simon's acclaimed autobiographical trilogy finds Eugene and his older brother Stanley trying to break into the world of show business as professional comedy writers while coping with their parents break-up and eventual divorce. When their material is broadcast on the radio for the first time, the family is upset to hear a thinly-veiled portrait of themselves played for laughs.
"Contains some of the author's most accomplished writing."-The New York Times
"A lovely play; warm, perceptive and gently humorous."-Newsday
"Expectedly funny and unexpectedly moving."-New York Daily News
- Sales Rank: #330676 in Books
- Brand: Brand: Samuel French, Inc.
- Published on: 2010-12-08
- Original language: English
- Number of items: 1
- Dimensions: 7.99" h x .25" w x 5.00" l, .28 pounds
- Binding: Paperback
- 120 pages
- Used Book in Good Condition
From School Library Journal
YA The final play in Simon's autobiographical trilogy, this is nothing short of brilliant. The story is both rib-tickling and heart-wrenching; the Jerome family is troubled, warm, and funny. The late 1940s finds Eugene Jerome trying to tackle television as a comedy writer while watching the deteriorating marriage of his parents and a grandfather who marches to his own drummer. Readers of this play will feel the joys and sorrows of a bygone era when family played a larger role in one's life. Simon's exquisite imagery and humor capture the love each of us harbors for our family but loses within our cluttered lives. This play will be an asset to any theater collection, as well as one that many will choose for recreational reading. Joseph Harper, Episcopal High School, Bellaire
Copyright 1988 Cahners Business Information, Inc.
Review
The last play in Simon's semiautobiographical Brighton Beach Trilogy, about aspiring writer ""Eugene Jerome,"" starts Eugene toward marriage and a career in writing comedy as his nuclear family undergoes various forms of fission around him. There are no weak links in the performance ensemble, only strong and stronger, with JoBeth Williams the standout for her often-affecting, even powerful, depiction of Eugene's mother. Of course, she does get the juiciest moments in this mixture of humor and drama. This deft production, while not profound, moves and entertains. The infectious laughter of a live audience enhances the experience. --AudioFile Magazine
This third and final installment in Simon's semiautobiographical trilogy of playsfollowing ""Brighton Beach Memoirs"" (1983) and ""Biloxi Blues"" (1985), recordings of which are also available from L.A. Theatre Workshas brothers Eugene and Stanley struggling amid a family crisis to write a radio comedy skit in preparation for a major audition. A 1987 Tony Award nominee, it is a powerful and compelling story mediated by deft comedic positioning perfectly executed by the eight-person cast, particularly by Scott Wolfe (as Eugene) and Alan Mandell (as Grandfather Ben), who provide most of the laughs. The sound effects further make this a rich listening experience. For those fond of old-time radio drama and comedy. --Library Journal
This third and final installment in Simon's semiautobiographical trilogy of playsfollowing ""Brighton Beach Memoirs"" (1983) and ""Biloxi Blues"" (1985), recordings of which are also available from L.A. Theatre Workshas brothers Eugene and Stanley struggling amid a family crisis to write a radio comedy skit in preparation for a major audition. A 1987 Tony Award nominee, it is a powerful and compelling story mediated by deft comedic positioning perfectly executed by the eight-person cast, particularly by Scott Wolfe (as Eugene) and Alan Mandell (as Grandfather Ben), who provide most of the laughs. The sound effects further make this a rich listening experience. For those fond of old-time radio drama and comedy. --Library Journal
From the Inside Flap
The final installment of the playwright Neil Simon's acclaimed biographical Eugene Trilogy, preceded by Brighton Beach Memoirs and Biloxi Blues.
Having returned from World War II, Eugene Jerome and his brother Stanley pair up to break into the world of professional comedy writing. Inspiration strikes when they aim their sights on their dysfunctional family and the network broadcasts it nationwide! A Tony Award and Pulitzer Prize nominee for Best Play.
An L.A. Theatre Works full-cast performance featuring Caroline Aaron, Dan Castellaneta, Kyle Colerider-Krugh, James Gleason, Alan Mandell, Jonathan Silverman, JoBeth Williams and Scott Wolf.
Most helpful customer reviews
6 of 6 people found the following review helpful.
The Jerome Trilogy's Poignant Finale
By NMdesapio
With 1986's BROADWAY BOUND, Neil Simon brought to completion the semi-autobiographical trilogy he began with BRIGHTON BEACH MEMOIRS (1983) and continued with BILOXI BLUES (1985). For those coming to BROADWAY BOUND never having read or seen the two preceding plays, a bit of context is needed. Eugene Morris Jerome is Simon's alter ego in all three plays, while Stanley Jerome, Eugene's older brother, is Simon's older brother, the TV writer Danny Simon (who died in July 2005). Eugene is the protagonist/narrator of all three plays. BRIGHTON BEACH MEMOIRS shows him struggling to find his identity among his large family in Brooklyn, New York. BILOXI BLUES depicts his first break with the family as he joins the Army. And BROADWAY BOUND, set in 1949, dramatizes a pivotal period in his life, made up of his efforts to launch, with Stanley, a comedy writing career - a career which would enable both him and Stanley to leave home permanently. As the decision to leave home is a major theme in BROADWAY BOUND, this comedy is arguably sadder in its tone than the two which precede it, or than nearly any other work by the playwright whose name has, in recent decades, become virtually synonymous with the term "Broadway comedy."
In terms of the Jerome trilogy, BROADWAY BOUND is a fitting culmination. It is an unusually complex comedy, alternating humor and gravity, and scenes involving three generations of family members: the elderly (Grandfather Ben), the middle-aged (Kate and Jack Jerome; Kate's sister Blanche), and the young (the sons, Stanley and Eugene). During the lengthy two acts, each character is "spotlighted" in turn: for example, Eugene in his monologues addressed to the audience and Kate in her long scene with Eugene in which she tells the story of how she once danced with movie star George Raft.
In terms of Simon's output up to 1986, BROADWAY BOUND is a culmination in that it includes elements of his previous comedies. Examples: Eugene and Stanley are, like Al and Willie in THE SUNSHINE BOYS, a show-business team whose real-life interaction is funnier than the material they produce (the brothers actually come to base their comedy sketches on their lives); like Felix Ungar and Oscar Madison, they are an "odd couple." BROADWAY BOUND can even be viewed as a tribute to American drama before 1986, since Simon's habit of emulating classic American plays is present in BROADWAY BOUND, which alludes unmistakably to both Clifford Odets' AWAKE AND SING! and Arthur Miller's DEATH OF A SALESMAN. Finally, BROADWAY BOUND was the play that changed many critics' opinions of Neil Simon, whom they had previously thought a superficial playwright; the play has even been called the finest of the 1980's. BROADWAY BOUND, then, is in several ways an important play, one which must be read and seen by anyone who loves American theatre.
3 of 6 people found the following review helpful.
Horrible end to such a light series.
By MAB
"Broadway Bound" marks the end of Simon's trilogy, and it's very dark and sad - not how I had hoped the trilogy would end. I found the characters different, but of course, you can say they matured, but Stanley was much more frantic than I remembered him to be. Eugene was much more level headed - not the sex-crazed teenage boy we knew and loved. Blanche lost her quirkiness, and the outcome of Jack and Kate disappointed me. The addition of Ben was what saved the play; the way Eugene played off of him was like "old times." I didn't feel the Jerome's were the Jerome's anymore. I do not recommend.
1 of 1 people found the following review helpful.
Stands on its Own
By Lucas Avery Lloyd
I experienced this play long before I experienced the other two plays in the trilogy, and I was never lost or confused. It immediately became one of my all-time favorite plays -- so funny, so poignant, so true. It's sadness is part of its richness. Highly recommended.
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