His entrance - out of breath, shuffling with a cane in hand, eyes squinting below bushy, gray brows - sets the tone for this 89-year-old wheeler-dealer to infiltrate the secrets and long-held animosities of a crumbling family. Conrad Feininger brings best to this most memorable creation. Gregory Solomon, a crotchety dealer of used furniture who is called in to buy out the tangible remnants of the Franz family’s faded wealth - old furniture steeped in older memories - is likely the most outwardly Jewish character Miller created during his career. We do not share data with third party vendors. Get Washington Jewish Week Digital Magazine by email and never miss our top stories Haberle is the least convincing of the trio. Valerie Leonard’s Esther, sporting an old school New York accent, has the air of a kept woman, while Sean Haberle’s Walter wears his Mad Men-esque plasticity like a mask on which he plasters his successes and hides his failings. Walter, the older Franz brother, enters late, but serves as the fuse that ignites the second act - one full of turmoil, recriminations, admissions and a hefty amount of emotional bloodletting.Ĭharlie Kevin’s Vic is the realist in this less-than-familial triumvirate: he’s a nose-to-the-grindstone guy, accepting his lot in life. With her son off to college, there’s little to occupy her days. Esther, his well-coiffed and clad wife, firmly ensconced in their striving by sacrificing lifestyle, has succumbed to housewife syndrome. A good city cop in the decaying mid-century New York - not the current boomtown - Vic has kept his nose clean, sacrificed for his family and, nearing 50 and retirement, is adrift.

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