Richard Greenberg’s The Assembled Parties contrasts an American Jewish family’s celebration of Christmas in 1980 with that of 2000. Over those twenty years, both the family and the American political landscape change significantly. Although there may be a connection between these two developments, it is only faintly suggested. Indeed, it is difficult to determine the play’s central theme or even its main storyline. In the first act, several subplots are introduced, but in the second only one reaches a partial resolution, and it feels more like an anecdote than a complete narrative. Perhaps the real focus lies in the contrasting ways of engaging with the world embodied by Julie, the hostess of the unusual Jewish Christmas gathering, and her sister-in-law Faye. Julie, though insightful, remains relentlessly optimistic despite the family’s underlying tensions. She maintains a cheerful façade, adhering to social expectations while ignoring unpleasant truths. In contrast, Faye’s sharp and sceptical wit brings both humour and realism to the play. Tracy-Ann Oberman is excellent as Faye, and the stage brightens whenever she appears. Her performance nicely complements Jennifer Westfeldt’s touching portrayal of the wistful, sometimes overly sweet, Julie. The scenes in which they interact are among the highlights of the production. Although the storyline never rises far above the level of a sitcom and the central message remains obscure, these two performances, along with Greenberg’s lively dialogue and fine characterisations, make The Assembled Parties well worth seeing. It ultimately offers a thoroughly enjoyable evening in the theatre.
Rated: ★★★
Reviewed by J.C.
Photo by Helen Murray
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