The cast of THE BUTTER AND EGG MAN. Photo by Kyle Connolly. |
Although
The Butter and Egg Man may be viewed
as something of a precursor to Mel Brooks’ The
Producers, the fact remains that it was written by George S. Kaufman and
first staged at the Longacre Theatre nearly a century ago, so it really ought
come as no surprise that the play may seem quite dated today - what with its
flappers and bootleggers, its vaudevillians and blue laws. The play debuted, after all, in the “Roaring
Twenties,” a time that was in many ways quite unlike our own, a time when hotel
managers looked askance at a single woman’s visiting a man’s room, and a time
when the police were more likely than not to shut down a theatrical production if
it included a scene in a brothel. And
that, of course, may well be the very reason that Retro Productions selected
this particular play to revive for its Tenth Anniversary production since Retro
takes it as its mission to “tell good
theatrical stories which have an historical perspective – with an emphasis on
the 20th century – in order to broaden our own understanding of the world we
live in.”
And
we all may be very glad that they did because this is one helluva revival – or
to use the vernacular of the 1920s: “This
show’s a pipe.” (No, I didn’t know
what the phrase meant either until I read the definition provided in the play’s
program: “It’s a cinch, easy as pie, sure
to succeed.”) For that is just what
this revival deservedly is: a pipe, a cinch, and sure to succeed.
Joe
Lehman (Brian Stillman) is a sleazy theatrical agent and wannabe theatrical
producer. Together with his equally
sleazy partner, Jack McClure (Matthew Trumbull), he hopes to stage a production
of Her Lesson, a convoluted mess of a
story featuring the aging actress, Mary Martin (Shay Gines), in the lead role. There is only one problem: the partners lack
the funds to finance the production and Fanny Lehman (Heather E. Cunningham), a
one-time vaudeville performer and now Joe’s wife, who could afford to finance
the show herself if she chose to, refuses to do so.
Not
to worry. Along comes Peter Jones (Ben
Schnickel), a wholesome lad who lives with his mother in Chillicothe, Ohio and
who has just arrived in New York in the hopes of parlaying the $20,000
inheritance he received from his grandfather into a large enough sum to enable
him to buy the hotel at which he works and return to Chillicothe not merely as
one of its employees but as its owner.
Voila! Peter encounters Joe’s secretary, Jane Weston
(Alisha Spielmann), and is immediately smitten.
Jane is as wholesome as Peter but the two are no match for the likes of
Joe and Jack. Predictably, Peter is
prevailed upon to invest his $20,000 in Her
Lesson, the play opens in Syracuse, and it bombs. Peter, it seems, is the quintessential “butter and egg man” of the play’s title
(defined in the play’s program as 1920s slang for “a naïve but rich investor, a sap, a mark”).
But
things are not always as they seem. Peter
buys out Joe’s and Jack’s interests in Her
Lesson and the apparent flop goes on to become an unlikely hit on
Broadway. Peter has turned the tables on
Joe and Jack, he has won Jane’s hand, and he is on top of the world. Until, that is, it all comes crashing down upon
him with the arrival of A. J. Patterson (Seth Sheldon), an OCD attorney whose
client contends (with considerable supporting evidence) that Peter never owned
the rights to Her Lesson in the first
place. It looks as if Peter may be
nothing more than a “butter and egg man” after all.
Or
is he? The play’s not over yet and you’ll
have to see it to find out.
The
cast is wonderful across the board with several terrific standouts. Brian Stillman plays the role of Joe as a
loud, trumpeting, cigar-chomping alpha male – something of a cross between Zero
Mostel, Jim Belushi and Jackie Gleason – while Matthew Trumbull acts the part
of his sidekick, Jack, in truly reptilian fashion. Shay Gines channels Gloria Swanson in her
portrayal of Mary Martin and both Ben Schnickel and Alisha Spielmann are the
fresh-faced innocents, Peter and Jane, that any mother would be proud to call
her own.
Ricardo
Rust, the play’s director, also deserves a special shout-out, not only for his
overall success in eliciting such fine performances from his very talented cast
but also for his remarkably creative choreography of the play’s scene
transitions. It is all too often the
case that audiences at off off Broadway plays must suffer through distracting
and time-consuming scene changes that not only do nothing to enhance the
theatrical experience but actually detract from it. Quite the opposite is the case here. In this revival of The Butter and Egg Man at the Gene Frankel Theatre on Bond Street
in lower Manhattan, the scene transitions themselves are entertaining as the
entire cast acts in concert, rearranging and transporting furniture and props
in a delightfully choreographed dance straight out of the “Roaring Twenties.”
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