Don't look now, but Billy Crystal's re-entering his second childhood — his third, if you count the 700 Sundays he put in 163 times at the Broadhurst during the first half of 2005.
The title of this autobiographical stand-up one-man–many-charactered show, now rating a nine-week reprise at the Imperial through Jan. 5, 2014, is the number of Sundays he shared on this planet with his father, Jack Crystal, a jazz promoter-producer who owned and operated Commodore Records. When Dixieland sales went south in 1963, his dad took an early slide at age 54, suffering a fatal heart attack while bowling.
This past March, the 15-year-old that Jack left behind with undeveloped memories and a spotty family photo album turned 65 years old. Suddenly Crystal realized he had been fatherless for 50 years. "The symmetry of that got me thinking, 'It's time to do that show one more time — to say goodbye to him,'" he explained. "I've really missed not doing it. I last toured with it three years ago and felt, 'I'm not done with this yet.'
"I thought there was a very emotional kind of rightness about doing it one last time. I thought I should do it and then lay it away and find something new to do, which would be exciting — while I still love it and have the passion and the energy for it."
The first time around, Crystal arrived on Broadway with $10 million in advance sales and sold out consistently throughout his run. He even once set the then-record for highest weekly-grossing Broadway non-musical ($1,061,689). At season's end came the awards: Two Outstanding Solo Performance Awards — from the Drama Desk and Outer Critics Circle — and a Best Special Theatrical Event Tony.
"The only dream I have left for this show — because I've achieved everything I wanted as far as audience acceptance goes — is to go to London and play the West End." He hasn't made plans for that, but it may come to pass; and he may record it this time.
The comedian's total recall of his childhood requires much theatrical shaping, so Des McAnuff, who directed, and Alan Zweibel, who supplied "additional material," have returned to their original posts for that. "When we opened the show, I had a four-page outline. At the rehearsal studio, I started improvising these stories of what it was like growing up in a Jewish house in Long Beach, and they were making notes. I'd recount them as best I could, then this became index cards, which went up on the board. After three weeks of doing this, we had a structure for the whole show.
|1 | 2 Next|