Keeping up with the Joneses is quite an undertaking, given the global net she has thrown out. There are 14 distinct individuals on view, and they crazily criss-cross boundaries of age, gender, ethnicity. The stage is a world, to reverse Shakespeare a bit, and the 32-year-old monologist is comfortable in every corner of it—turning on a dime from a homeless urban usher to a Pakistani emcee who is as funny as an accountant (which he also is) to a worldwide procession of minority groups who step up to the mike to have their say.

We are at a poetry jam in a drab little neighborhood cabaret in Queens. Streams of multicolored Christmas lights stretch out from the stage in an act of desperate merriment, and the banner in the center confounds us with the message I.A.M.A.P.O.E.T.T.O.O. (which is pronounced "I am a poet, too"). The bill of fare includes a stooped Eastern-European Jewish woman, a disabled Mexican-American union organizer, a Jordanian woman with a memory of The Beatles, a Haitian-American social worker, a Jamaican performance artist, a Chinese-American mother, a Vietnamese-American hiphop poet.

Meryl Streep, who knows a thing about accents (and has earned an unprecedented 14 Oscar nominations without repeating an accent), quite naturally fell in love with Bridge & Tunnel and produced it at 45 Bleecker where it ran for a sold-out seven months. For Broadway, she has backed back a bit and left the producing to others, content with the role of lead cheerleader. Hers is the first quote of a contented customer to make the ads ("If there is one show you should see on Broadway, it's Sarah Jones' gift to New York!").

There is, to be sure, more where that came forth, and Streep was most forthcoming when she lent her considerable celebrity to opening night, looking smashing in a stunning silver frock. "Sarah was, like, insanely good tonight," she opted. "Y'know, you hope for a good performance on opening night. You really don't hope for any more than that because the nerves are so much and the hype and the worry. You just hope that the bones of the performance will be there and will sustain. If you do a great performance on opening night, it's unheard of. It's really kind of annoying to other actors to watch it. She knocked it out of the park tonight. I wish I were her mother because I couldn't be prouder."

"Anyone who is a live performer has those transcendent moments where there is some kind of agreement between the performer and the audience. I felt like I walked into a kind of understanding this evening. I walked out, and there was just an understanding we were going to participate. It didn't feel like a one-person show. It felt like a 601-person show."

Also racking up a Broadway debut was Tony Taccone, who directed the dynamo. "I'd say directing Sarah Jones is a little bit like managing the Yankees: You get out of their way and let 'em play. She's really got such astonishing gifts, such strong instincts, such unique talents, my job is a little different with her than it would with a normal actor."

And did he feel a little ganged-up-on by the fact that Jones was also the author of the piece? "Sure," he conceded, "but she's also very open. She's one of the most open people I've ever met. She's hungry for feedback. She always wants notes. She's very available and interested in hearing what the outside eye has to say so it has been a great collaboration. One of the reason she's such a transformative personality is that you can't find Sarah in the piece. You just see these characters, and you fall in love with them." Streep's first exposure to Jones was at an Equality Now benefit held at the United Nations. That experience—and the fact that Jones is a graduate of The United Nations International School—conspired to give Broadway its first U.N. opening night party.

The post-show supper was held in the spacious fourth-floor Delegates Dining Room, which plays beautifully at night, overlooking the East River with Brooklyn blinking on the distant horizon. The spare, spread-out area really does look like the room where Philip Ober is fatally stabbed right in front of Cary Grant in Hitchcock's North by Northwest.

Of course, getting to the room was an interesting ordeal, with first-nighters queuing in coagulated clumps for a series of security checks. "What a melting pot!" cracked one seasoned first-nighter, seeing all the usual suspects in endlessly undulating lines. Another wag advised James Naughton not to bring up "the Willy Brandt" thing from last season.

Naughton is in a musical frame of mind these days. The Naughton Family Singers (him, son Greg, daughter Keira) are set for an American Songbook gig Feb. 25 at the Allen Room at Columbus Circle. Then, the two-time Tony winning bread-winner will press on solo with an engagement at Feinstein's at the Regency, starting toward the end of May.

"Sex and the City"'s Kim Cattrall and Angels in America's Tony Kushner either didn't make it through the security clearance or didn't try, but they were at the theatre, cheering.

Kushner could find himself Oscar-nominated on Tuesday for co-authoring Steven Spielberg's Munich, and he's already deep into Screenplay Two—an original based on an incident that actually happened to the young Eugene O'Neill. "Jack Nicholson was a really great O'Neill, but he'd be too old to play him as a 23-year-old. I should watch his performance again, but Reds is not available on DVD. I want to find out why." Continued...