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Review: Wits End at Circle & Star
A play that reminds us how funny we are
Two minutes into the play my phone rang and I was horrified. I am usually so zealous about switching it off. Yet there it was, the unmistakable theme from Succession – my ringtone. Except it wasn’t mine. It belonged to Cooper Becker, eldest son of the dearly departed Marvin, and it was ringing in the funeral hall. Not that Cooper was remotely embarrassed. Aunt Phyllis, however, was appalled. Until her own phone rang to the strains of Bei Mir Bistu Shein.
And these were just two of the deliciously observed comic details in Wit’s End, a truly funny play that reveals what a gifted comic writer Estee Stimler is. Her play is absolutely my humour. American, Jewish – essentially a kosher smorgasbord of Woody Allen’s Radio Days and Karen Walker from Will & Grace, with enough guilt to sink a cruise ship.
Nothing I’ve seen lately has made me cackle quite so much about death. Truth be told, it’s a subject I hate, but I do love a family broigus, and Marvin Becker’s family has more than its fair share. There’s wealthy, emotionally detached eldest son,Cooper (Shai Forester excellent at doing self-absorbed) whose financial contributions apparently excuse his years of absence. Then there’s Leah Marks who captures the relentless need to interfere as middle child Denise and behind her Daniel Lipton who brings genuine sweetness and vulnerability to Yitzy, the obliging youngest, who visited his father every day in the nursing home.
Stimler is wonderfully honest about that familiar family injustice: however many children there are, one inevitably ends up doing everything. Yitzy has sacrificed years of his life caring for Marvin and now feels so inadequate that even having a girlfriend seems beyond him. It’s a poignant truth tucked into the mayhem.
Heading up Marvin’s levoyah is Rabbi Horowitz, hired through Google whose funeral service owes more to Jackie Mason than the Book of Psalms which is quite the role for David Boyle who moves between solemnity and inappropriate much to the confusion of the bereaved family.
But there’s a special nod is for Sue Kelvin as Aunt Phyllis, who delivers an entirely unsolicited eulogy while embodying every older Jewish woman you’ve ever known, with humongous angst, limitless opinions and absolutely no concept of minding her own business. I adored her.
This is Steve Furst’s directorial debut at his Circle & Star, a venue that feels more like home every time I visit – and I’ve been going a lot. His affection for the material is obvious, and he makes the most of the limitations imposed by the tiny stage. But who needs big when small is this good? Even the programmes are a delight, presented as A Celebration of Marvin’s Life and opening like a Hebrew prayer book, while kippahs are handed out to the audience. Another brilliant touch.
Stimler understands that Jewish families don’t necessarily grieve quietly. They argue, accuse, interfere, remember, exaggerate and, occasionally, remember why they love each other. And for those who think Wit’s End is too Jewish – shame on you – and those who laughed as much as I did, please tell your non-Jewish friends to see it.
They could do with remembering just how funny we are.
Wits End runs until 22 November http://witsend.circleandstar.live
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