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FYVUSH FINKEL LIVE! Send This Review to a Friend
At the age of 88, veteran performer Fyvush Finkel needs a cane to walk slowly onto the stage, but once he is there, the old show biz energy comes charmingly alive and he sings, tells anecdotes and dispenses time-worn but still funny jokes, in this case mostly related to the glories of the Yiddish Theatre. His saucer eyes twinkle, his broad smile is infectious and he rattles off song lyrics with speed and memory that younger performers might envy. The show is a presentation of the National Yiddish Theatre—Folksbiene, and it is a loving occasion to recapture past glories and help ensure that Yiddish remains with us in the present and future.
Finkel, although having cut his teeth on the Yiddish stage, has had a successful crossover career as well, such as a five-year run in “The Little Shop of Horrors,” television on “Boston Public,” touring with “Fiddler on the Roof,” and on stage in “Café Crown,” as well as a host of other appearances. But his current show is steeped in nostalgia for Yiddish culture, as well as a recollection of Finkel’s life, reflected with endearing and sometimes amusing photographs projected to illustrate his story-telling about his long, legendary career.
This is also somewhat of a family affair, as his sons, Ian Finkel and Elliot Finkel are a major part of the presentation. Elliot provides musical direction and arrangements and is also at the piano. Ian provides musical supervision and orchestrations and also plays a mean xylophone, as demonstrated by his virtuoso solos. The brothers lead a five-person musical contingent as well. The show’s direction is by Motl Didner, its choreography by Shorey Walker.
The production is enhanced by two other starring performers, the delightful actor and master of sketch material, Merwin Goldsmith, and the effervescent, ultra versatile theater veteran June Gable, who sings, dances and participates in vignettes ranging from the hilarious to the sentimental. One funny bit is her attempt to sing the emotional salute to motherhood “A Yiddishe Momma” but breaking down in tears and unable to finish the schmaltzy lyrics. (I still recall fondly her Tony-nominated performance in “Candide.”) Goldsmith does a memorable pantomime to a narrative expressing “A Butcher’s Soul” and amuses as “Reuben the Knish Man.”
Finkel is hilarious, for example, coming out in below-the-border garb for a “Finkel Salsa” number. He also gets off lines like “Jews don’t drink—it interferes with their suffering.” He tells a joke about a philandering actor who on stage asks where his sons are and “the whole balcony stands up.” Finkel makes the jokes sound new. He also is skilled in the art of stage movements geared to whatever number is on tap, whether jovial or sexy.
As is the custom at Folksbiene productions, there are projected translations in English and Russian. Obviously, it helps knowing Yiddish, but those who don’t are not left out of the warmth.
On opening night Finkel invited his audience to come back again in ten years when he is 98. As they say, from his mouth to God’s ears. At the Baruch Performing Arts Center, Lexington Avenue at 25th Street, $55. Phone: 646-312-5073 or visit www.folksbiene.org.
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