‘The Bookstore’: What the Printed Word Can Mean to People

NEW YORK CITY—One of the attractions of an independent bookstore—an increasingly rare animal in this era of online purchases, social media, and ever more shortened attention spans—is its ability to offer specific services for customers. These include specializing in hard-to-find tomes that don’t rate attention—or bring in volume sales—on wider platforms. This is the starting point for Michael Walek’s quietly engrossing comedy-drama “The Bookstore” presented by New Jersey Repertory Company at 59E59 Theaters.

Spanning an approximate 12-month period in 2017, the play takes place in a small bookstore in New York City that is owned by Carey (Janet Zarish). A denizen of the city since the late 1970s, Carey’s first job was at Random House publishing. After rising through the ranks there, and eventually leaving for personal reasons, she chanced upon a vacant storefront. In a flash of inspiration, she turned it into a bookstore that became a quiet refuge from the outside hustle and bustle.

Carey runs the store with two employees. Abby (Arielle Goldman) is a somewhat uptight Yale graduate who has been working on a novel for the past 8 years. Brittany (Ari Derambakhsh) is a free-spirited sort who changes relationships almost as frequently as one finishes a chapter in a novel.

Carey has a reputation for selecting exactly the right book for any customer. She demonstrates that skill with Spencer (Quentin Chisholm), a young man and aspiring actor who recently arrived in New York. He stumbles in after having been attacked, possibly by people at a nearby bar.

Spencer enthusiastically devours Carey’s selection for him—a book by P.G. Wodehouse—and frequently returns to the bookstore, eventually becoming something akin to Carey’s pupil and companion. The two attend films, book readings, and other artistic events together. It’s all to the consternation of Abby and Brittany, who begin to wonder if their boss is getting in over her head with this new friendship.

This play unfolds on interlocking tracks. The first concerns the mystique that surrounds the printed word and how stories can transport readers to an entirely new environment while never requiring them to leave the comfort of their home. Literary titles are constantly name-dropped throughout—from “Nancy Drew” to “Middlemarch.” Along with these are discussions of various works, certain authors, and their specific relationships.

Through it all, Walek takes care not to make this some sort of highbrow experience. Instead, he keeps the characters grounded in reality while showing they are not always as well-read as they like to seem. Several confess to having never read certain current bestsellers or classic novels, even though it’s their job to be at least somewhat familiar with all literary tastes.

For example, Abby deplores mysteries of any kind. Spencer admits that while he never actually read “Wuthering Heights,” he really enjoyed its Wikipedia page. This remark is one of many instances that the author uses to call attention to the changing times and the changing methods of communication. The demise of the practice of letter writing and the use of dating apps are others.

This idea of change is also reflected in the characters themselves as all four find themselves at a particular crossroad during the course of the story. Each breaks the fourth wall and addresses the audience directly on the subject. This method of sharing their innermost thoughts helps to build a strong emotional rapport with the audience and makes them want to know more about these people and what drives them.

Zarish proves an excellent guiding force for the story, showing Carey to be someone more than willing offer a helping hand or become a confidant to those who need it. At the same time, she’s strong-willed and not at all afraid to lay down the law when she has made a decision. She sees in Spencer a chance to break out of the years-long routine, or “rut” as she calls it, that her life has become.

Goldman does a nice job as Abby, a woman who keeps things too close to the vest at times. She continually battles what appears to be an extreme case of insecurity. She’ll let no one read her novel, which she faithfully writes 1,000 words a day, until it is finished. Derambakhsh is fine as the laid-back Brittany, who is able to channel the way she views life into her own attempt at writing.

Chisholm adds refreshing comic relief as Spencer, a newcomer to the world of literature and theater. In fact, he’s about to appear in a community production of “Hamlet.” Spencer and Brittany’s backstories feel somewhat lacking, particularly in Brittany’s case.

Jessica Parks’s set of the bookstore is just as much of a character as the actors themselves. The set gives off an intimate and homey feel, calling to mind a trove of potential written treasures available to anyone who happens to drop by. Jill Nagle’s subdued lighting design also adds to this effect.

The entire show moves along pleasantly with William Carden’s direction keeping the work on a sure footing. It allows the different transitions—such as the character’s monologues—to come across smoothly.

“The Bookstore” makes for an enjoyable experience where those who live a life centered on books can be just as interesting as the books themselves.

‘The Bookstore’
59E59 Theaters
59 E. 59th St.
Tickets: 646-892-7999, 59e59.org
Running Time: 2 hours, 10 minutes (one intermission)
Closes: Feb. 15, 2026

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