FIRST IS SUPPER
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So when a man as naturally funny as Shelley Berman attempts, in the words of the National Jewish Theater’s press release, “a drama about the trials of a Jewish immigrant [family] . . . on Chicago’s West Side in 1919,” there is reason to worry that yet another comedian is going to turn out yet another stillborn “serious” work. But he hasn’t. Because Berman, unlike legions of comedians before him, has not been fooled into thinking that he should repress his comic gifts to write something serious. Indeed, he uses comedy throughout First Is Supper, and in the process has created a work that is both moving and genuinely funny.
More impressive still is the way Berman–in his first play, no less–has a created a dramatic work in which humor is not imposed on the story by the playwright (as in Neil Simon’s early funny but emotionally shallow plays) but rather arises naturally from his characters and the play’s action. Of course it helps that he has populated his play with characters who use humor throughout their lives as a major defense against their misfortunes.
Berman’s strong script is complemented well by Terry McCabe’s fine direction and excellent cast, who seem equally at home with Berman’s comic and more serious sides. Josette DiCarlo could not be better in the role of Frieda Marks, the tough immigrant mother; her performance is miles ahead of her broad and very unfunny role in Vampire Lesbians of Sodom. Marilynn Bogetich is wonderful as Lotte, and Fredric Stone deserves praise for his portrayal of the unlikable patriarch Getz Marks.
