Review: Dysfunction in Focus in ’The Subject Was Roses’ at Bay Street Theater

There was a time, not all that long ago, when many American families failed to share their emotions with one another openly and honestly. Maybe it was a source of pride, or a matter of fashion, or perhaps it was just an effort to exude post-war optimism, but in these kinds of households, gender roles were traditional, public conversations unfailingly polite, and every small gesture was loaded with innuendo and meaning.

In short, it was an era rife with dysfunction.

This is the backdrop for “The Subject Was Roses,” Bay Street Theater’s first play of its summer 2024 mainstage season. Written by Frank D. Gilroy, the 1964 Pulitzer Prize-winning drama is a reflection on post-WWII America and it ran on Broadway just as the country was heading into yet another war — this one not nearly as popular. It offers an understated, yet powerful, exploration of the important role family dynamics play in the emotional nourishment (or lack thereof) of both parents and children. It’s a lovely and subtle play, perhaps short on flash and dazzle, but deep in emotional context.

Set in a modest Bronx apartment in 1946, this moving production is directed by Scott Wittman and as the curtain rises, there is excitement in the air. Husband and wife John and Nettie Cleary (John Slattery and Talia Balsam) bustle around the kitchen to make things perfect for the homecoming of their only son, Timmy (Harry Slattery), a young soldier who will soon awaken in his own bed on his first morning back from war.

Their optimism is palpable. John gives thanks to God that his boy has safely returned home when so many neighboring sons have not, while Nettie fusses over the coffee to ensure it is perfectly brewed. Timmy’s favorite breakfast is on deck and with the new day dawns a sense of hopefulness for the family.

But time and war have changed things. Timmy has grown during his years away and has developed his own set of values, separate from that of his doting mother and his staunchly Catholic (and vaguely anti-Semitic) father. The sensitive child who once thrived on Nettie’s coddling support while approaching John with wariness is now gravitating more toward his brash and gregarious father, who is eager to bond with Timmy over drinks, ballgames and nights out on the town. It represents a new family dynamic, and while Nettie is dismayed to see Timmy moving away from her, she is pleased that father and son are forming their own relationship as adults.

But old habits die hard and as the play progresses, John’s inner demons and bitterness come to the surface. While his outgoing personality endears him to strangers on the street, at home he slips into sullenness where he is prone to violent outbursts that have long kept his wife and son in check. That familiar storyline is about to change with Timmy as the catalyst. He’s the emotional fulcrum on which the family’s stability pivots and his time away from the dysfunction has caused him to reevaluate all he has known and put the motivations of his parents into perspective. The returning soldier is no longer the mamma’s boy — nor is he inclined to emulate his father, a man prone to indulging in extramarital activity and heavy bouts of drinking followed by mass on Sundays.

At times humorous, but with often painful truths, this is a well-acted and beautifully quiet play. As they say, still waters run deep, and “The Subject Was Roses” explores a very specific time in the arc of a household, when former children return home as newly minted adults with shifting allegiances and opinions.

Which brings us to the roses, they, being the subject of the play. Timmy has bought them as a gift for his mother, but suggests that John tell her they are from him. Perhaps Timmy hopes to keep the positive feelings between his parents going a while longer, but the gift backfires and the emotion the roses trigger in Nettie obviously goes far beyond the simple gesture it seems to represent. Buried deep within them, Nettie sees an apology that John hasn’t delivered representing the many betrayals and sins he has no intention of admitting to.

Tinged with shades that evoke the writings of Arthur Miller, perhaps with less of the political and social overtones, this play reflects a very different time and place when hidden emotion and resentment seethed just beneath the surface. To many audience members, it will feel like familiar terrain, perhaps even nostalgic. This is not a flashy show propelled by slick effects or contemporary cultural references, but in its tension there is, strangely, a level of comfort to be found. In the capable hands of the three actors — who in real life are husband, wife and son — it feels as if we are peeking through the window and peering into the depths of a trio of very private, tumultuous lives.

John Slattery does a lot of the heavy lifting, portraying the breadwinning father with optimism before the demons come out (often with the application of alcohol) and set the other family members on edge. As the long suffering Nettie, Talia Balsam is by turns stoic and vulnerable. She endures her lot in life with dignity, understanding that the choices she made decades ago were pragmatic, but came with long-lasting consequences. As Timmy, newcomer actor Harry Slattery is the glue and he holds his own admirably on stage alongside his powerhouse parents.

Scenic designer Derek McLane’s muted set tones give the Clearys’ apartment the spar quality of a mid-century modern painting, the streamlined velvet furniture, the simple rustic kitchen and the large apartment windows that reflect the hues and moods within all work together seamlessly, as does the lilting music between scenes, courtesy of Marc Shaiman. Rounding out the creative team is costume designer Laura Bauer, lighting designer Cha See, sound designer Hidenori Nakajo and stage manager Michelle Bosch.

Ultimately, in this play the roses may be incidental, but they are consequential. In families where so little is shared outwardly, symbolic gestures speak volumes, for better and for worse. They are the stand-ins for all that remains unsaid — love, forgiveness, remorse, comfort. It’s a heavy burden and one that once upon a time in the 20th century defined many a household. Are those days gone forever? Perhaps — at least we can always hope.

Frank D. Gilroy’s “The Subject Was Roses” runs through Sunday, June 16, at Bay Street Theater. Tickets start at $45 at baystreet.org or 631-725-9500. Bay Street Theater is on Long Wharf in Sag Harbor.