The Sunshine Boys

Director Lorri Layle Oliver leads a sharp and touching production of “The Sunshine Boys” as her swan song effort for The Adobe Theater, running through July 12 in Albuquerque. Layle, who was born in Santa Fe, will head West after the show closes to pursue her acting career in Hollywood. Neil Simon has given her a fitting cautionary tale to take with her as she encounters the struggles and triumphs inherent with a life lived in the entertainment limelight.

The play landed on Broadway in the early 1970s, at a time when Simon had already enjoyed a ridiculous run of hits. His statement in “The Sunshine Boys” is an emblematic one for showbiz circles: What happens when it’s finally time to be put out to pasture? In the case of Al Lewis and Willie Clark, their corn-ball variety duo act had fizzled out a decade ago when Al had the presence of mind to get out. But Willie can’t accept the fact that times have changed without him. He struggles to stay valid by believing he has a solo career hawking potato chips or Alka-Seltzer, because he has “a terrific face for an upset stomach.”

Willie’s only connection to reality is through his nephew Ben, both caretaker and agent, who puts his love for his Uncle far above the East Coast culture attitude of “I’m not happy until I’m miserable.” When Ben proposes an opportunity for a Lewis and Clark reunion on CBS, Willie coughs up all the resentments he’s been clutching onto until he convinces himself one more spin through their legendary “The Doctor Will See You Now” routine will be okay… as along as Al knows he’s against it.

James Cady gives a priceless performance as Willie Clark. Seconds in, there is no doubt he is in command of the character’s tempo for speaking without premeditation. Cady takes language from forty years ago—some of which is considered insensitive now—and miraculously delivers it with conviction and timing that’s so difficult in comedy. He manically swirls these tired old jokes around the stage as he plods in slippers across his downsized hotel room, and still we laugh and laugh because Cady doesn’t apologize for Willie’s sourness by treating Simon’s genius with respect. Cady is the definitive thespian and also the Adobe’s Artistic Chair. No wonder the Theater has such quality production runs.

Philip J. Shortell brings a fresh note of vulnerability to Al Lewis. Shortell puts his energy into giving the audience a sense of anticipation as to why he up and quit the team. Maybe Al just isn’t that funny anymore. But when the time comes to prove the old magic is still there, Shortell shifts gears expertly and convinces us that Lewis and Clark is an enterprise worthy of our devotion.

Playing Ben Silverman is Jonathan Dunski, who is superb representing the new generation of talent and custodian of his Uncle’s legacy. With a lot to do in his scenes he never misses a beat as he wrangles these two oddballs with selfless care. Dunski also wears his dapper period wardrobe impeccably. The supporting cast is superb, especially Sandra Williams in her first non-musical role as Willie’s nurse, played flawlessly deadpan and bossy. Haley Morrell in her Adobe debut as the voluptuous Burlesque Nurse charmingly adds a titillating note of taboo.

When it comes to comedy theater with an affecting takeaway message, there is no better than Neil Simon. Oliver does an exemplary job with “Sunshine Boys” and we wish her well in Los Angeles. With several performances remaining, pick up your tickets and treat yourself to a funny and well-acted show.

On assignment for ABQToDo.