THEATER review
Sheridan Square to Shylock
Solo show recalls Zero Mostel as funny, tragic, furiously angry man
By Jerry Tallmer
A funny thing happened at the Alvin Theatre, one night in 1962. A delicate elephant of a man named Zero Mostel playing a freedom-minded Roman slave named Pseudolus turned himself momentarily into an erotic Greek frieze, and a critic named Tallmer fell out of his aisle seat, laughing hysterically. BUMP! on the floor, I kid you not.
Though Zero left us, with tragic abruptness,15 years after that 32 years ago now one has high hopes of seeing and hearing him again; not just Pseudolus but the entirety of the man, when Jim Brochus raved-about one-man Zero Hour arrives here from Washington on November 22. Previews start November 14 for a run through January 31 at the Theatre at St. Clements on West 46th Street.
Zero Mostel was a funny man indeed, and a tragic man, and a furiously angry man. The person he most despised was Jerome Robbins namer of names, including that of suicided blacklisted actor Philip Loeb and yet it was brilliant choreographer/director Robbins with whom Mostel grimly worked when (Funny Thing, Fiddler) he had to.
The therapeutic, cleansing grist of this show is its gloves-off revisit to that era of the hyena. Nowhere in it does Samuel Joel Mostel forget his loyalty to Ivan Black, the Harvard-educated blacklisted press agent who dubbed him Zero.
Brochu reenacts the whole Mostel story; from its beginnings at Café Society (2 Sheridan Square) where I myself first laid eyes on Zero to his death on the road as Shylock. His one and only love was wife Kate. What a pair, Zero exclaims. A dysfunctional Catholic Rockette from Philadelphia and a dysfunctional Jewish painter from New York. Indeed, Mostel always considered himself a painter first, everything else second. And his canvas was
broad.
Zero Hour plays November 22 through January 31 (previews begin November 14); at Theatre at St. Clements (423 West 46th Street, between 9th and 10th Avenues). For tickets, call 212-239-6200.