The playwright Lorraine Hansberry was near death at age 34 when “The Sign in Sidney Brustein’s Window” premiered on Broadway, for a three-month run that ended with her passing in 1965. Set in the h…
at the theater recently named for James Earl Jones, is a mind-blowing restoration of an overlooked battleship. Crackling with ideological argument and loaded with withering observations about American progressivism, “Sidney Brustein” is thrilling and unwieldy in a way that too few plays are given sufficient berth to be on Broadway.
At three hours that brim with discursive talk, “Sidney Brustein” is a daring and demanding star vehicle, not least because its central relationship maintains an enigmatic core even as it starts to disintegrate. Chemistry between the actors is palpable from the start: On the heels of her first entrance, Iris is stripped down to white stockings and underwear, practicing pliés at the kitchen counter, and Sidney is flat on his back at her feet.
Isaac does tireless and virtuosic work trying to synthesize the title character, and his charisma goes a long way toward wrenching Sidney into a center that can hold. If he doesn’t completely pull it off, there’s plenty to marvel at in the effort — like the quicksilver turns of a mind looping infinitely back on itself, and the tremors of an idealist doubled over with gut-scorching bile.
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