Word: lemkin
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Dates: during 1980-1989
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...open spaces under control. The full-company numbers sparkles with movement, much of it painstakingly researched to mirror actual on-the-job motions, an astonishing proportion of it in synch. And in Magaril's boldest visual effect, four-foot-square letters spell out WORKING in crimson light, transforming Jonathan Lemkin's harmonious set into a glorious spectacle...
There is certainly comic potential in Jonathan Lemkin's black and white, three-dimensional wood-carving set, with three great, storybook houses rising out of a gorgeously detailed back-drop. But Alex Begin's harsh, bright lighting makes the set seem stark, even Beckettian. It comes to life only during an imaginative sunset-to-sunrise sequence in the second act, acquiring magical, mysterious depth. Valerie Hobb's colorful, deliriously clashing costumes also don't take the light particularly well--they look as if they could use a sprinkle of MSG to bring them out. But they are stuffed with modest...
Director William Sakas guides J.B. down a treacherous dramatic track. His production gracefully hurdles the obstacles of existentialism, tragedy, and intellectualization, always landing safely on its feet, rarely losing pace, and never stumbling. Every component of the show, from Jonathan Lemkin's stark set design to Tom Chesterman's eerie lighting, works toward J.B.'s flawless success...
...mawkishness. She lavishes devotion on her brother's children and her sister-in-law's brother too ostentatiously. And, like Evans, Sewall does not move like a middle-aged woman. Her counterpart is much better. Genuinely funny as the incorrigible uncle, the drunken wastrel, one wishes Jonathan David Lemkin appeared more often...