As the second in a three-part series of autobiographical works, Neil Simon's Biloxi Blues is, I think, something truly rare: a play that not only succeeds independently of its precursor (Brighton Beach Memoirs) and follow-up (Broadway Bound), but that's a smarter, funnier, stronger piece than either of its trilogy partners. Even those of us who are casually dismissive of the playwright's style generally agree that this military-themed outing showcases Simon at his absolute finest; the drama is lightly poignant and unforced, and the jokes - and there are dozens of great ones - seem to spring naturally from personality and situation. (In a wonderful break from his punchline-driven norm, Simon's characters here don't all sound interchangeable.)