Anyone who needs reminding that acting eloquence does not require dialogue should have seen Kevin Beyer's tenebrous performance in the New Jewish Theatre production of Arthur Miller's Broken Glass
. The drama, set in Brooklyn in pre-World War II 1938, probes the unhappy life of Phillip Gellburg, a Jew who "doesn't like Jews," prefers the company of WASPs and is reluctant to acknowledge his roots. Although Miller's imperfect script is overwritten, Beyer's calibrated incarnation of a breathing cadaver was breathtakingly underplayed. Here was a man so consumed by self-loathing that even a shrug was an effort. After having acted in numerous plays at the JCC, Beyer is so familiar with this postage-stamp performing space that his nuances can be measured in millimeters. Once again Beyer revealed himself as an actor of microscopic sensitivity.