By Bart Greenberg***A Final Toast, currently playing at the Chain Theater, is a fascinating mix of family drama and ethnic/religious issues. The former is much more strongly dealt with. The work by Michele A. Miller concentrates on two mothers and two daughters, one set Jewish-American, the other of Irish descent. Their lives are linked in surprising (and some a bit too surprising) ways, as the 
various combative relationships are explored. While the play has some major flaws, what can not be doubted is the first-class production it has been given, very well directed by Kathy Curtiss and brilliantly acted by a quartet of experienced actresses. Even the set design and projections that were an intrinsic part worked smoothly and helped define the many settings.
Jana Robbins stars as Blanche, a Jewish-American (her emphasis is on the latter) matron of great vitality, a mix of humor and bitterness, who is facing her fading memory full on, believing “if you’re counting down your days, you should make each day count.” Robbins seems incapable of playing a false moment as she brings to life this contradictory woman who continuously surprises as each element of her life is reluctantly exposed. Jolie Curtsinger is her daughter Ella, her mother’s match in determination, whose astringency barely hides great love for her, even as she doubts her mother’s feeling for her. Curtsinger doesn’t shy from the strident part of her role, but wonderfully displays the vulnerability underneath every chance she can. These two are absolutely convincing as family.
Facing a reluctant move from her home of almost 60 years to a one bedroom apartment in a seniors residence, the women hire a specialist in organizing such transitions, disposing of the accumulation of a lifetime. Alice is an amazingly empathetic and very patient expert 
who quickly bonds with Blanche. Enacted by Sachi Parker, she seems to shine with serenity and a nice sense of humor. Of course, that’s when she is dealing with Blanche; her relationship with her own mother is more complicated. Carol is high-strung and still struggling to adjust to her husband’s sudden passing, caused by COVID. The pandemic hovers over the play and causes issues for all involved. The less-than-merry widow is played by Joy Frantz, who slowly reveals, with much understanding, the source of the fears and phobias of this unsophisticated woman.
So far so good. The characters in the first act meet up in various combinations, quite logically dealing with various conflicts that illuminate their personalities and desires. In the second act, the major scene involves the two mothers. It is smart in that it is funny and the two women remain true to their natures, but as the revelations pile up each becomes more coincidental and more unbelievable. Most of the revelations are not even hinted at in the first act so the audience is more confused than shocked. After this misstep there are several scenes that each seem like the finale of the play and each are largely based on actions taking place offstage. One scene does provide Robbins to shine again as she becomes lost in her past and her vulnerability is fully exposed. It is truly a master class in acting. But the succession of false endings 
dissipates much of the energy and impact of the piece as everything is too neatly wrapped up.
Director Curtiss does keep the action moving smoothly and with as much impact as the flawed but intriguing work allows, and certainly must deserve at least partial credit for the four fine performances. For a play with multiple settings in a limited space, the design team of Maya Alschuler-Pierce, Rychard Curtiss, Peter Fogel and Spencer Giles work theatrical magic in defining time and place. And the stage crew deserves plaudits for their quick, quiet and well-planned scene changes.
A Final Toast has a great deal of potential, and there is little doubt that Miller will find a way to do the necessary work to finalize her play. Hopefully the next production will retain the four wonderful actresses.
A Final Toast is produced by Renaissance Now Theatre & Film at Chain Theater, 312 W. 36th St., New York City through May 26, 2024. Tickets may be purchased at https://renaissancenow.com.
