Geva’s Barefoot in the Park is a Vibrant Study in Newlywed Friction

by Debra Ross

When Neil Simon’s Barefoot in the Park first debuted in 1963, critics at the New York Herald Tribune called it a play "about nothing at all." In a way, they were right. The plot is famously light: Two newlyweds move into an unfurnished, top-floor Manhattan walk-up and realize, over the course of four days, that they might be fundamentally different people. In Geva Theatre’s latest production, directed by Rachel Alderman, this "show about nothing" becomes a high-velocity study in what happens when youthful romanticism runs headlong into real life.

The play opens with the Bratters still firmly in their honeymoon phase, having spent six days at the Plaza Hotel before ascending to their new life—literally. Corie has leased a top-floor Manhattan walk-up without Paul having seen it, and the "charming" reality is a cold shock: a five-flight climb to a space with a leaky skylight and a radiator that doesn't quite work. Because the couple is so new, they haven't had the chance to practice navigating even small disagreements, and their blissful bubble is immediately stretched thin by their environment. It leads to a humorous but explosive realization that while they are head-over-heels in love, they haven't yet learned how to navigate the unglamorous, inevitable compromises of a shared life. In establishing this domestic friction within a single, relatable setting, Simon created a clear blueprint for the character-driven sitcoms that would dominate the 1960s and 70s.

The production’s success is a collective achievement. While the characters often verge on the over-the-top, the entire cast plus the director's work keeps them grounded as real people. Lee Harrington is a whirlwind as Corie Bratter, displaying a relentless, singular intensity that rings in the memory long after the curtain falls. Her portrayal calls to mind the zany charm of Katharine Hepburn in Bringing Up Baby, yet she remains completely believable, anchoring Corie’s flighty romanticism in the genuine warmth of an inexperienced woman eager to start her life.

Opposite Harrington, Sean-Michael Wilkinson provides the essential anchor as Paul Bratter. He is the perfect foil for Corie—completely believable as the pragmatist without ever becoming an unlikable caricature. We believe thoroughly in their love for each other, which makes the sudden conflict feel all the more poignant. 

The supporting cast is equally sharp, particularly Evan Zes as the neighbor, Victor Velasco. Zes plays the character with a masterful, self-aware twinkle in his eye. He seems to be in on the joke, connecting with the 2026 audience by acknowledging the absurdity of his own bohemian persona. He isn't just a 1960s trope; he is a delightful bridge between the Bratters' rigid reality and the whimsy Corie craves.

Watching the play today highlights a fascinating shift between 1960s sensibilities and our own. In 1963, Paul’s drunken breakthrough at the end was a standard comedic "win"—a sign that the "stuffed shirt" had finally learned to let go. However, a 2026 audience necessarily views the scene through the lens of a population sensitized to the dangers of drunk driving and the complexity of relying on substances to access one's own authentic self. What was once a carefree punchline now resonates differently, even while the play’s overall humor remains effective.

The physical production is a nostalgic masterpiece that grounds the play’s whimsical energy in a tangible reality. We begin Act 1 in an echoey, unfurnished shell—a space filled with nothing but Corie’s optimistic expectations and a lone stepladder. By Act 2, the set has bloomed into a triumph of mid-century detail that will transport anyone who lived through the era right back to it. From the specific palette of the upholstery to the period-perfect knick-knacks, the apartment becomes a homey, lived-in character in its own right. It is a warm, visual time capsule that perfectly captures the aesthetic of 1963 Manhattan, even as the drafty windows and cramped quarters remain a constant reminder of the practical hurdles the couple has yet to clear.

Ultimately, Geva has delivered a beautifully-acted production that finds the humor in the growing pains of a new marriage. For those who remember the era, it is a rich trip down memory lane. For the rest of us, it is a humorous reminder that while our safety concerns and social norms may change, the confusing work of learning to live with another person can be a timeless and hilarious—if somewhat exhausting—ascent up five flights of stairs.

Details

• What: Barefoot in the Park by Neil Simon

• Where: Geva Theatre, 75 Woodbury Blvd, Rochester, NY

• When: Now through March 29, 2026

• Runtime: Approximately 2 hours and 15 minutes (includes one 15-minute intermission)

• Link: GevaTheatre.org

© 2026, BeyondTheNest.com.

Debra Ross is publisher of KidsOutAndAbout.com and BeyondTheNest.com.