How do you build a play around a star performer from another wing of showbiz? There are two basic choices, as illustrated by the two productions currently onstage at Chicago Shakespeare Theater.
One: Give them a project that stretches new muscles and shows off their range. That choice is exemplified by Eddie Izzard’s ambitious solo production of Hamlet now playing in the Courtyard. Yes, the standup comedy superstar delivers a lot of funny moments, but this is at heart a serious production.
Two: Lean into the elements that made the star popular in the first place. That’s what we see in the world-premiere production of Judgment Day at the Yard. In other words, if you liked Jason Alexander in Seinfeld, you’ll love him in this broad comedy about soulless attorney Sammy Campo, who dies and almost gets sent to Hell. At the last second, an angel grudgingly gives him his life back so he can try to punch his ticket to Heaven with good deeds. Chaos, of course, ensues.
Just like George Costanza, Campo is a selfish, scheming, excitable know-it-all. The part fits Alexander like a hand model’s glove. When he discovers getting into Heaven is only about good works done no matter how cynically they may be rendered, you can almost hear him excitedly sharing this newfound loophole in God’s immutable law: “It’s the deeds, Jerry! Just the deeds!”
Like millions of other TV viewers, I did love Alexander in Seinfeld, and he’s fantastic in this production, which showcases his wicked comic timing and over-the-top delivery to hilarious effect. Even when you can see how a bit is going to resolve, it still elicits a big laugh. In fact, I can’t remember the last time I laughed so long and hard at a play. Book of Mormon back in the day, maybe? The humor in Judgment Day is every bit as raunchy, although here it’s dogs, not babies, that are worked into scandalous jokes that have the house roaring.
Unlike, say, Ebenezer Scrooge, Sammy Campo is not one to get all sappy about his spirit-guided second chance. He’s determined to remain an absolute shitheel even as he racks up Heaven points by selfishly helping the less fortunate. The man has zero redeeming qualities (other than being hilarious) and he’s proud of it.
Every character in this play is a broad stereotype, except for Father Michael, the “sneaky priest” who helps Sammy recover a life insurance settlement for an old lady parishioner (a loopy Meg Thalken). Portrayed with real depth, empathy and humor by Daniel Breaker, Father Michael contains multitudes, and his religious philosophical discussions with Sammy and a very funny Monsignor (Michael Kostroff) provide the show’s semi-dramatic highlights.
Do some of the characters seem tonally to be performing in very different plays? As Sammy might say: Yeah, so what? It’s hard to be critical when you’re laughing so hard at nun-turned-angel Candy Buckley chasing Alexander around the stage with a ruler and detailing how his damnation will include time floating in a pool of molten diarrhea.
And yes, there are a couple of clunky moments in the staging–a curtain is dragged awkwardly into the wings after it’s dropped onto the stage to reveal a church wall, for instance. Also, the sets have a certain traveling dinner theater production vibe.
No matter. Playwright Rob Ulin tees up a steady stream of gags and Alexander, who picked the perfect piece for his Chicago stage debut, hits the punchlines out of the park under the no-nonsense (or, rather, all-nonsense) direction of Moritz von Stuelpnagel. That’s not so shocking when you consider that Alexander won the 1989 Tony Award for Best Actor in a Musical for his performance in Jerome Robbins’ Broadway.
I loved this show, warts and all. So sue me, Jerry! Sue me!
Judgment Day runs through June 2 at Chicago Shakespeare Theater.
For a full roundup of reviews of this show, visit Theatre in Chicago.
Photo by Liz Lauren
