Delivering a eulogy is an immensely challenging task, particularly for Milo, who is mourning the loss of his close friend Roman. With a longstanding friendship that began in childhood, Milo, who is in his early twenties, is visibly shaken by the recent tragedy. It becomes evident that he will need support from those attending the memorial service.
As audience members of Peter Charney and Brendan George’s “A Eulogy for Roman” at 59E59 Theaters, we are called upon to provide that support. The show, while modest in scale, has a subtly powerful impact. Milo, played by George, who also wrote the play and is a graduate student at New York University, actively involves a theatergoer in helping him organize index cards filled with his thoughts about Roman. He also seeks advice from the audience on coping with loss, eliciting responses such as “Dogs,” offered by a woman in the performance I attended.
Milo’s gentle prompts serve as emotional catalysts within the show, but his sincere and charismatic presence creates a feeling of inclusion and genuine conversation with the theatergoers, rather than mere manipulation for the sake of storytelling.
However, there is a slight unease as Milo’s emotional journey seems to be centered on himself, without revealing much about Roman. Yet, isn’t part of the grieving process the exploration of how one continues to live?
To regain a sense of order in his life, Milo decides to fulfill a project that he and Roman had undertaken together: completing a “Life Points List” that contains experiences meant to ignite a feeling of being alive. Some of these tasks remain unchecked since Roman’s passing, and Milo suggests that the attendees of the memorial service could assist him in achieving closure. The remaining tasks include suggesting songs for a playlist (which led to a spontaneous candy-themed playlist among the audience members) and joining Milo in doing 100 push-ups. Although these scenes provide amusement, they can sometimes resemble activities found at a children’s birthday party. However, the show successfully avoids teetering over that line.
The use of a list as a coping mechanism for dealing with death, combined with audience participation, brings to mind the acclaimed play “Every Brilliant Thing” by Duncan Macmillan and Jonny Donahoe. However, “A Eulogy for Roman” doesn’t incorporate the more unsettling aspects of our existence as effectively as its predecessor.
Nonetheless, George’s endearing presence and Charney’s concept and direction ensure a steady pace throughout the show. What stands out most is the show’s commitment to sincerity, which is refreshing in a world accustomed to cynicism. I found myself wondering when it would be revealed that Roman or Milo, or perhaps both, had psychopathic tendencies, as we have become conditioned to expect such twists. Yet, “A Eulogy for Roman” bravely embraces kindness, resilience, and the power of community.
Be sure to catch “A Eulogy for Roman” at 59E59 Theaters in Manhattan before it concludes on September 3rd. The play runs for approximately 1 hour and 15 minutes. Visit 59e59.org for more information.
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