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.