Roberta on the Arts
Lincoln Center Theater Presents "Golden Boy" at the Belasco Theatre
Contact Roberta
Jazz and Cabaret Corner
On Location with Roberta
In the Galleries: Artists and Photographers
Backstage with the Playwrights and Filmmakers
Classical and Cultural Connections
New CDs
Arts and Education
Onstage with the Dancers
Offstage with the Dancers
Upcoming Events
Special Events
Culture from Chicago
Our Sponsors

Lincoln Center Theater Presents "Golden Boy" at the Belasco Theatre

- Backstage with the Playwrights

Ultimate Wine Shop

Expansive Selections!
Sale Prices!
Champagnes and Chiantis!
10% Off Mix-Match Cases!

See 90 + Rated Wines!
Or Visit Us in New Jersey!
Wines on Sale
From Around The Globe!

Lincoln Center Theater
under the direction of
André Bishop and Bernard Gersten

Golden Boy
(Golden Boy Web Page)

By Clifford Odets

Directed by Bartlett Sher

Michael Aronov, Danny Burstein, Demosthenes Chrysan,
Anthony Crivello, Sean Cullen, Dagmara Dominczyk,
Ned Eisenberg, Brad Fleischer, Karl Glusman,
Jonathan Hadary, Daniel Jenkins, Danny Mastrogiorgio,
Dion Mucciacito, Seth Numrich, Vayu O’Donnell,
Lucas Caleb Rooney, Tony Shalhoub,
Yvonne Strahovski, and David Wohl

Belasco Theatre
111 West 44th Street

Sets: Michael Yeargan
Costumes: Catherine Zuber
Lighting: Donald Holder
Sound: Peter John Still and Marc Salzberg
Fight Director: BH Barry
Stage Manager: Jennifer Rae Moore
Casting: Daniel Swee
Exec. Director, Development & Planning:
Hattie K. Jutagir
Director of Marketing: Linda Mason Ross
General Press Agent: Philip Rinaldi
Managing Director: Adam Siegel
Production Manager: Jeff Hamlin

Dr. Roberta E. Zlokower
December 12, 2012

Clifford Odets’ 1937 play, Golden Boy, is so supremely satisfying on every level, I didn’t want it to end. Somehow, even in the finality of the third act, I wished for more. Each character, each conflict, each phrase or string of phrases or conversation, each shift in scenery, or each turn of events is so finely crafted by the playwright and so finely crafted by the cast. Bartlett Sher has directed for such naturalism and nuance that it’s as if he’s dissected the psyche of each character and walked each actor through emotive molecules of the role. Mr. Sher also got a top level cast to work with, led by Seth Numrich, as Joe Bonaparte, the youthful, talented violinist turned professional, competitive boxer. In fact, as seen in The Times, Mr. Numrich practices his boxing moves before each performance in the alley next to the Belasco, assisted by Dion Mucciacito, who plays Sam, another boxer in this show.

The cast is replete with the crème de la crème of dynamic actors, such as Danny Burstein as Joe’s sensitive, yet feisty trainer, Tokio, Tony Shalhoub, as Danny’s heavily-accented Italian father, Antony Crivello as Eddie Fuseli, a mob-type investor in Joe’s career, who seems to crave more than professional closeness, Danny Mastrogiorgio, as Tom Moody, Joe’s manager, who’s carrying on a stormy, extra-marital affair with Lorna Moon (Yvonne Strahovski), who seems plucked from campy film noir, Ned Eisenberg as Roxy Gottlieb, a promoter of money-making prizefights, and Dion Mucciacito, as Sam, a competitive boxer in the show. After Joe receives an expensive violin, which his father invested in for his concert career, Joe breaks his heart by signing with Roxy and Moody, for fame and fortune. But this play is so much more about the rhythm of Odets’ gorgeous and compelling language, that it’s worth a repeat visit to focus on the finely penned monologues, plus Lorna’s retro repartee.

Director, Bartlett Sher will surely receive accolades throughout the year for this impressive and significant production. I was truly drawn in, throughout three acts. The frequently shifting sets, by Michael Yeargan, bring us into Moody’s office, the Bonaparte living room, and backstage at the prizefight. Donald Holder’s lighting is warm and understated, and the sound design enables us to hear Joe seeming to play his new violin offstage, as well as to hear the offstage cheering of the fight. The lengthy dialogues were always crisp and audible. But, it’s Seth Numrich, whose indefatigable persona adds so much credibility and color to the ensemble. His character exudes incredible pathos and vulnerability, in spite of his impassioned moxie. Kudos to Seth Numrich and the entire cast, kudos to Bartlett Sher, and kudos to Clifford Odets.

For more information, contact Dr. Roberta E. Zlokower at