Sheila Chisholm
Willie Clark (Brian de Kock) and Al Lewis (Aubrey Hindle) were, for over forty years, a top-rate Vaudeville act known as Lewis and Clark. They even appeared on Ed Sullivan’s famous televison show. Although the pair grew to hate each other, Willie, none-the less was devastated when, overnight, Al withdrew from show business to turn stock broker. And while Al’s new career flourished, Willie’s stage career floundered – except for the odd potato chip ad.
Now frail and in his 70’s, Willie lives in a shabby apartment, cared for by his niece Bev Silverman (Erika Marais). She’s a theatre agent who has been tasked by CBS to coach Willie and Al out of retirement to represent the Vaudeville era in CBS’s production, The History of Comedy.
American playwright Neil Simon bases The Sunshine Boys on a mix of true-life career and friendship of comedians Smith and Dale, and ill-matched personal relationship between musical comedy artists Gallagher and Shaen – who were a hit professionally, but behind the scenes they disliked each other intensely.
Background music to The Sunshine Boys opening was Nacio Herb Brown’s appropriate song Make ‘em Laugh. When the curtain swung back we saw De Kock huddled in an armchair still wearing his dressing gown over his pyjamas.
Then, shuffling around, De Kock’s body language immediately conveyed he’s not in a “happy space”. Fed up that his televison isn’t working, over the phone, he bawls at the janitor only to discover he’s forgotten to plug it in. Willie is no less cantankerous towards his niece when she arrives for her weekly Wednesday visit.
After unpacking food she’s brought and tidied his room Bev broaches the subject of CBS’s suggestion for a once-off reunion with Al. His response is so sharp-tongued he could well be categorised as a Scorpio... a sting in every tail/tale.
Yet underneath, Willie is lonely. Eleven years after Al’s sudden exit he’s still deeply hurt. His crusty exterior hides his desire to accept CBS’s offer and meet up with his old partner. His pride, however, won’t let him give in too easily, so his first meeting with Al is tense and riddled with arguments, blame, and counter-accusations about their past and how to deal with their CBS sketch... The Doctor.
As Willie, De Kock gives a stellar performance. He is simultaneously sensitive, crotchety, funny, impish and down-right rude..
His diction and timing are excellent. He never tries to be comical. He allows Simon’s text to carry the humour, and it does.
Although just as stubborn and argumentative as Willie, Al’s verbal sting is not quite so stinging. Hindle’s bearing and well-cut suit highlight his financial success. He professes to be happy living in New Jersey with his daughter. He too won’t admit to being pleased at the prospective of working with his old partner and their TV skit as a doctor and patient was a classic of good comedy theatre.
In her neat outfits Marais brought a glamorous touch to Willie’s drab apartment. While The Sunshine Boys is set in New York City, De Kock and Hindle’s hint of a New York accent floating through their speech was preferable to Marais “twang” throughout. It seemed to rob her of the necessary inflections and nuances her part demanded.
In spite of dealing with two old men sitting a great deal or, in the case of Willie, speaking from his bed, under director Nigel Stevenson’s skilled guidance, by their vocal variation and carefully timed gestures De Kock and Hindle mastered the art of holding attention while stationary.
Stevenson also succeeded marrying a delicate balance between wise-cracking and conveying Simon’s underlying poignancy.
A gentle tale worth seeing.
l Tickets: from R70. Book: 021 788 1898, [email protected]