REVIEW: "Sly Fox"

A Review

Going For The Gold

By R. J. Donovan

Harkening back to the days of yore (or at least the seventies), a troupe of top talents, along with an honored director and experienced playwright, have set up camp in Boston to fine tune a show on its way to Broadway. "Sly Fox" is at The Shubert through March 7.

"Sly Fox" first debuted on Broadway more than 25 years ago with George C. Scott in the lead role. Author Larry Gelbart (“M*A*S*H,” “City of Angels,” “A Funny Thing Happened On The Way To The Forum”) refashioned Ben Johnson’s original “Volpone” for his script, which was directed then, as now, by the renowned Arthur Penn.

The new revival stars Richard Dreyfuss (left) as Foxwell J. Sly, a devious con man of 1800s San Francisco, out to rob from the rich and keep it. Gold fever is in the air in more ways than one.

Posing as a dying man, Sly hasn't an heir to whom he can leave his fortunes. So he scams a trio of hapless dupes into showering him with finery (bribes actually) in hopes of being selected as the one to receive the treasures that await. Each member of the trio, unaware of the others, is also out to hasten Sly’s demise so as to speed up their path to the golden calf. Ultimately, each winds up losing what he has by wanting what he doesn't.

The first act sets up the story -- very methodically. After the greed and guile hit rock bottom, schemes are exposed and jail looms in Act Two.

Sly is aided and abetted by his man servant, Simon Able, here played with a cool but cagey posture by Eric Stoltz (above, with Dreyfuss). Sly has acquired the services of Able by absorbing his sizable gambling debts.

The three money-hungry hopefuls are Bob Dishy (left) as wide-eyed Abner Truckle, Rene Auberjonois (center) as the delightfully crotchety Jethro Crouch and Bronson Pinchot (right) as an ever grabby Lawyer Craven. (Dishy was in the original production, earning a Tony nomination.) To win the attention of Foxwell, Craven steals from the church, Crouch offers to disown his own son and Truckle barters the affections of his virginal wife, whom, under normal circumstances, he won’t even let stand by an open window for fear of her being ogled.

Rounding out the cast are Peter Scolari (left) as a laughably lecherous police captain, Elizabeth Berkeley (right) as Truckle’s puritanical wife, Rachel York as the classy town prostitute, Nick Wyman as Crouch’s exasperated son, and, as the court clerk, Professor Irwin Corey, whose entire performance consists of approximately five fragmented lines -- each of which is embraced with a roar from the audience.

The hardworking Dreyfuss easily switches gears back and forth from pompous con artist to frail, dying invalid. He also doubles as a blustery “Gunsmoke-Meets-Blazing Saddles” Judge in the Act Two courtroom scene where Pinchot goes for broke in attempting to defend Sly while preserving his own chance at grabbing the fortune.

As mentioned above, Stoltz is the cool cucumber of the group, assuming a bemused conceit as he helps spin the wheels of graft. It pays off in the end and it also adds a nice balance to have him appear collected and composed while so many around him are clawing at the air for their prize.

Gelbart’s language is clever, and at this point in the run, the laughs are there, but there’s more to be mined. And while the story may have flown more under its own power in the original production, the plot is not necessarily as wicked today. Nothing wrong with that, but if the pace were picked up, the performances would brighten and the overall experience would be heightened. Which is all part of the polishing that goes on during a try-out.

In the production department, special mention should go to George Jenkins and Jesse Poleshuck for their nicely detailed Victorian set, starting out in Foxwell Manor and spinning into Truckle’s living room, Crouch’s seedy office, a dank jail cell and finally opening up into a courtroom.

With a funny script and a highly-credentialed cast, “Sly Fox” is glimmering. It’s just not quite 24K yet.

"Sly Fox " is at The Shubert Theatre, 265 Tremont Street in Boston, through March 7. For information, call 800-447-7400.

Production Photos: Carol Rosegg

-- OnStage Boston

2/27/04

			A Review Going For The Gold By R. J. Donovan Harkening back to the days of yore (or at least the seventies), a troupe of top talents, along with an honored director and experienced playwright, have set up camp in Boston to fine tune a show on its way to Broadway. "Sly Fox" is at The Shubert through March 7. "Sly Fox" first debuted on Broadway more than 25 years ago with George C. Scott in the lead role. Author Larry Gelbart (*“MASH,” “City of Angels,” “A Funny Thing Happened On The Way To The Forum”) refashioned Ben Johnson’s original “Volpone” for his script, which was directed then, as now, by the renowned Arthur Penn. The new revival stars Richard Dreyfuss (left) as Foxwell J. Sly, a devious con man of 1800s San Francisco, out to rob from the rich and keep it. Gold fever is in the air in more ways than one. Posing as a dying man, Sly hasn't an heir to whom he can leave his fortunes. So he scams a trio of hapless dupes into showering him with finery (bribes actually) in hopes of being selected as the one to receive the treasures that await. Each member of the trio, unaware of the others, is also out to hasten Sly’s demise so as to speed up their path to the golden calf. Ultimately, each winds up losing what he has by wanting what he doesn't. The first act sets up the story -- very methodically. After the greed and guile hit rock bottom, schemes are exposed and jail looms in Act Two. Sly is aided and abetted by his man servant, Simon Able, here played with a cool but cagey posture by Eric Stoltz (above, with Dreyfuss). Sly has acquired the services of Able by absorbing his sizable gambling debts. The three money-hungry hopefuls are Bob Dishy (left) as wide-eyed Abner Truckle, Rene Auberjonois (center) as the delightfully crotchety Jethro Crouch and Bronson Pinchot (right) as an ever grabby Lawyer Craven. (Dishy was in the original production, earning a Tony nomination.) To win the attention of Foxwell, Craven steals from the church, Crouch offers to disown his own son and Truckle barters the affections of his virginal wife, whom, under normal circumstances, he won’t even let stand by an open window for fear of her being ogled. Rounding out the cast are Peter Scolari (left) as a laughably lecherous police captain, Elizabeth Berkeley (right) as Truckle’s puritanical wife, Rachel York as the classy town prostitute, Nick Wyman as Crouch’s exasperated son, and, as the court clerk, Professor Irwin Corey, whose entire performance consists of approximately five fragmented lines -- each of which is embraced with a roar from the audience. The hardworking Dreyfuss easily switches gears back and forth from pompous con artist to frail, dying invalid. He also doubles as a blustery “Gunsmoke-Meets-Blazing Saddles” Judge in the Act Two courtroom scene where Pinchot goes for broke in attempting to defend Sly while preserving his own chance at grabbing the fortune. As mentioned above, Stoltz is the cool cucumber of the group, assuming a bemused conceit as he helps spin the wheels of graft. It pays off in the end and it also adds a nice balance to have him appear collected and composed while so many around him are clawing at the air for their prize. Gelbart’s language is clever, and at this point in the run, the laughs are there, but there’s more to be mined. And while the story may have flown more under its own power in the original production, the plot is not necessarily as wicked today. Nothing wrong with that, but if the pace were picked up, the performances would brighten and the overall experience would be heightened. Which is all part of the polishing that goes on during a try-out. In the production department, special mention should go to George Jenkins** and Jesse Poleshuck for their nicely detailed Victorian set, starting out in Foxwell Manor and spinning into Truckle’s living room, Crouch’s seedy office, a dank jail cell and finally opening up into a courtroom. With a funny script and a highly-credentialed cast, “Sly Fox” is glimmering. It’s just not quite 24K yet. "Sly Fox " is at The Shubert Theatre, 265 Tremont Street in Boston, through March 7. For information, call 800-447-7400. Production Photos: Carol Rosegg -- OnStage Boston 2/27/04

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