Review: The New Jewish Theatre's Moving and Hilarious THE SUNSHINE BOYS

The New Jewish Theatre opens their season with a nicely staged presentation of Neil Simon's lovingly written tribute to the those long gone days of vaudeville, THE SUNSHINE BOYS. As you would expect from such a prolific and gifted writer, the jokes come fast and furious, reflecting the nature of the characters as much as the subject matter, particularly with regards to Willie Clark, and his habit of finding some wry and cynical take on any conversation directed toward him. It's a reflex, and one I totally get, because I often find myself doing the same thing. It's a defense mechanism, I suppose. And, if this seems like I'm getting a little deep, that's because this version of the show has a certain poignancy and emotional affectation that provides the play with additional depth. Perhaps that's due to the fact that the main actors are normally ones you would find doing predominately dramatic works. But, this is proof positive that you can't always judge an actor by their portfolio, because they confound expectations with their superb performances. Go see this wonderfully fresh take on THE SUNSHINE boys, you'll certainly be glad you did.

Modeled after Smith and Dale, a comedy team that may have faded into obscurity for most, but who I remember hearing on an old record that contained dozens of vintage samples of many of these forgotten acts. That's the situation Willie Clark, once a part of "Lewis and Clark" with ex-partner Al Lewis, is experiencing as he continually cajoles his agent/nephew into finding him a gig. Al, his partner retired on him many years ago, and it's something Clark still has a grudge about, so he's been attempting to make a go of it on his own, with predictably disastrous results. But, an opportunity to appear on CBS during a salute to comedians of the past and present, provides them with a chance to reunite. Of course, it's not a smooth reunion by any means, with Clark dredging up memories of poking fingers and spittle drenched dialog deliveries. The question develops as to whether there is anything that can bring them together again.

John Contini is hilarious, and just a bit sad, as the grizzled Willie Clark. He's at a point in his life where he wants to retain his independence, but he's still indulging in foods, when he's actually eating, and habits that are bad for his health. His forgetfulness, which may just be a defense mechanism as well, because everything is just a set up for a punchline with him, is worrisome. But, you can still hear a sharp wit in the groan-inducing one-liners that accompany any attempt at a dialogue directed toward him. Contini shapes the character in his own fashion, and so does Peter Mayer as Al Lewis. Mayer is best known, like Contini, for his powerful dramatic roles. He just gives off a commanding vibe when he takes to the boards. But, here we find a sympathetic man, living a quiet life in his daughter's home, and dealing with a variety of ailments as aging has a practice of bringing to everyone. The dynamic wouldn't seem to work at first glance, but both approach the material in a way that humanizes it. There's nothing subtle about the comedy team of "Lewis and Clark", but there are nuances to these two performances that take the play in a more serious direction without sacrificing the laughs. In fact, it makes them even more bittersweet. And, that makes it a very special production.

Jared Sanz-Agero is very good as Willie's long-suffering nephew. He's trying as hard as he can to get a message through to Willie that his career in show business is over, but it's falling on purposely deaf ears. He's passed the point of succumbing to Willie's constant barrage of jokes and stories, but he genuinely cares about his welfare. It's a role that could easily be considered thankless, but he allows you to really feel his pain and frustration. Fannie Belle-Lebby does fine work as the registered nurse who takes care of Willie later on in the show. It's a role written to relieve some of the tension that is occurring due to Willie's health, and Belle-Lebby makes the most of each line, lending them an amusingly sarcastic edge that fits perfectly. Julie Crump makes a vivid impression as the buxom nurse they use in their doctor sketch, Bob Harvey briefly appears in the skit as well as a patient, and Leo B. Ramsey is good as part of the TV crew attempting to capture the bit on tape, while also trying to keep the irascible Willie on script.

Doug Finlayson's direction is nicely executed, and by taking advantage of the dramatic skills that the leads possess, he's able to give a fresh perspective to a much performed show that distinguishes it. Margery and Peter Spack have done a wonderful job bringing Willie's rundown apartment to life, and it's all neatly filled with period props by Margery. Michael Sullivan's lighting is also effective, and Michele Friedman Siler captures each character well with her costume designs.

You may have seen THE SUNSHINE BOYS before, either the film or another theatrical production, but I guarantee you'll be moved and amused even more by The New Jewish Theatre's terrific staging and performances, and it continues through November 1, 2015. This is one you should definitely check out.

Photo Credit: Eric Woolsey

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