Review
Broken Hands
Lion Theater
September 12, 2006
VanLoan
vanloan@nyconstage.org


Part of the FringeNYC encore series (recapping the shows voted audience favorites), Broken Hands is an odd hybrid of a show. It is the story of two co-dependent brothers one of whom is mentally deficient. Written by Moby Pomerance (whose father Bernard wrote The Elephant Man), it calls to mind such works as Steinbeck’s Of Mice and Men or Barry Levenson’s movie Rain Man. Mick the mentally challenged brother is a lower tier prize fighter while his brother/caretaker George is a street grifter who manages the fights. This puts the play in the world of those 1940’s boxing films that inevitably lead to the fixing of a fight (it happens here as well). Mr. Pomerance success in integrating these various elements into a tight melodramatic work is evening’s greatest strength.

Set in London in the 1950’s when the city is still suffering from the ravages of World War II, the play’s milieu is the urban underbelly that the pulp photographer Weegee made famous. Jay Ryan’s lighting (he also did the sets) goes far in establishing this effect. The plotline follows George as he hustles fights for his brother who fundamentally just does as he is told (when it finally sinks in). When a scam goes wrong, George borrows money from one of the local gangs dominating the East End at the time. George instructs Mick to throw a fight to recoup the losses; yet in his naivety he just goes out and wins as he has been trained to do. Scratch, the sadistic, local ganglord comes to call for the debt and George fate moves toward its pitiful conclusion.

What makes the play compelling (as stated earlier) is the structure the author has set up. Scenes take place before and after George’s death which make for a bit of confusion in the beginning. However, piecing together the brothers’ story soon becomes a major source of satisfaction as in a good mystery story. As the story falls into place, we appreciate the classic cycle of retribution and lament that Mr. Pomerance has set into motion. Interlacing the piece with a strong gallows humor, this noirish character study is tough, brutish and sharp not unlike Mick’s proficiency in the ring.

Director Marc Weitz has done a great job in focusing his ensemble to the task at hand. All the actors are first rate with Cory Grant standing out as the troubled Mick. There are at times, however, when the actor pushes his character’s stupidity to an alienating degree (although to the actor’s credit it does seem to be in the script). Tom Souhrada has an appropriate sleazy charm as Scratch and Eric Miller bring a creditable pathos to the Sinatra-loving George. Both Constance Zaytoun as the world weary moll Gloria and Chuck Bradley as the kid criminal with attitude give finely etched performances. It’s a perfect little show for the Fringe as evidenced by its winning Outstanding Playwriting and Outstanding Lead Actor (Grant) awards at the festival.

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