A Sheryl Levine Guterman and Mensch Co. presentation of a one-man show in two acts, written, directed and performed by Avi Hoffman
How many people are aware that Wyatt Earp's wife was Jewish? Or that a 76-year-old Jewish woman named Janet Rosenberg ran for president of Guyana and won? These are little-known historical nuggets that Ovation Award-winning comic Avi Hoffman offers in his "Too Jewish, Too!," a sequel to his hit revue "Too Jewish?" Hoffman, child of Holocaust survivors, is a musical mensch -- a man who bases his life and career on a bedrock devotion to Judaism. His virtues are unpretentiousness, a rich singing voice and an intense desire to communicate his respect and love for Jewish culture. The weakness of this West Coast premiere is its familiar jokes and the fact that Hoffman, as a performer, is more impressive than his material.
Backed by Chris Dawson's solid piano, he opens with a comedic Allan Sherman tune, "Shake Hands With Your Uncle Max," dedicated to American immigrants. He points out immediately that he was considered too Jewish as an entertainer, before deciding to embrace, rather than fight, his identity. Large portions of the show are delivered in Yiddish and then translated, frequently flying over the heads of listeners. When that happens, the comedian speeds ahead with another song or story before anyone ends up too confused or excluded.
Paul S. Morrill's multifaceted black-and-white backdrop features a historical pastiche of Jewish products and people, including Levi Strauss labels, Jewish mothers, Bob Dylan, Manischewitz Matzo Meal and an advertisement for Jewish singles. The signposts add to the sense of history Hoffman wants to convey.
Food is an inevitable topic, and Hoffman hits home when describing the Catskills as a place Jewish vacationers raced to for meals as much as entertainment. Cursing, Jewish-style, is the evening's best segment, with such examples as "May he make millions and spend it all on doctors."
Tributes to legendary comedians Myron Cohen, Mickey Katz (father of Joel Grey), Milton Berle, Jackie Mason, Allan Sherman and Rodney Dangerfield call forth a series of gags, some funny, others rusty from overexposure.
Though plucked from the past, musical elements of Hoffman's program feel fresh. "Shmaltz Gets In Your Eyes" and "Yiddishe Mambo" are highly enjoyable. One forceful moment focuses on the Jerry Bock/Sheldon Harnick song cut from "Fiddler On the Roof," "When Messiah Comes"; Hoffman's rendition lingers in the mind long after the production concludes.
Sets, Paul S. Morrill; production design, Brian Knox; musical direction, Chris Dawson; production stage manager, Joe Witt. Opened March 22, 2003; reviewed March 20; closes April 13. Running time: 1 hour, 30 min.
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Date in print: Tue., Mar. 25, 2003