Matching Shtick for Shtick

'Oscar' is what 'The Sopranos' might have looked like if the Marx Brothers had written it instead of David Chase.

by Floyd Lawrence
Contributing writer

It's been said that farce is tragedy played at a thousand revolutions per minute.

"Oscar," the farcical comedy now playing on the stage at the North East High School auditorium, may not sustain a consistent thousand rpms, but it does manage to move along at a good clip. As I watched the hijinks, I kept thinking, "This is what 'The Sopranos' might look like if the Marx Brothers had scripted it."

Most important, its jokey take on Depression-era mobsters, fueled by a properly absurdist plot, gives laughs aplenty.

Chris Bucci produced the show, which is set in 1931, the heyday of American gangsterism. He also stars as Angelo "Snaps" Provolone, the underworld boss who, in an opening prologue, promises to his dying father (Patrick Devlin) that he'll give up his career as a crook.

Bucci also supplied the script for the play, which he adapted from the 1991 film in which none other than Sylvester Stallone played Snaps. He's been wanting to bring it to the stage ever since he saw that John Landis film when he was still in high school.

After securing all the necessary permissions, Bucci finally realized his magnificent obsession by devising a script that's necessarily changed for stage presentation, assembling a worthy cast, locating a performance venue, and giving Jamie Pryber an opportunity to direct the show.

Wisely, Bucci has kept most of the gags from Michael Barrie's screenplay for the movie "Oscar,"which was based on a French play by Claude Magnier. Thus, we have Snaps snapping to his underlings, "Don't call me Boss," to which they invariably respond with, "Sorry, Boss." Or the slightly thick-headed Snaps says, "Of course, I knew. I just had no idea."

But the most durable element in this comedy of errors is its labyrinthine plot. The action all takes place on one eventful morning in Snaps' home a few months after he's made his promise to his father. Within the space of four hours, he learns that his accountant, Anthony (Shannon Solo), has been embezzling from him -- and wants to marry his daughter.

Snaps also has an appointment with the Finuccis (David Dicola, Terry Smith), his tailors, in order to be fitted with a new suit.

Since he plans to become a legit banker, Snaps is also scheduled to meet with some bank representatives, who, it turns out, are only interested in any money he can bring to the deal.

Also on Snaps' calendar is an appointment with Dr. Poole (James Canfield III), his elocution coach, who is charged with improving his client's vocabulary and pronunciation.

As if this weren't enough, his daughter, Lisa (Jackie Jircitano), tells him she's pregnant by the since-fired chauffeur, Oscar. His maid, Nora (Beth Ann Bohun), tells him she's quitting, the police have been watching his house, the maid's replacement, Roxanne (Judy Stow), reveals a big secret, and a young woman named Theresa (Jamie Pryber) shows up to become a part of that secret.

And let's not overlook the three satchels -- containing money, jewels, and woman's underwear --that always seem to end up in the wrong hands.



Rest assured that Bucci and the other cast members are well up to the task of sustaining story while moving it along with the speed of a bobsled. The numerous entrances and exits amuse but never confuse.

Bucci may not have the hardbody of Sly Stallone, but he's nonetheless an imposing stage presence who's quite believable as Snaps, a farcical hero who, in a much less farcical play, could indeed be at the center of a tragic tale. His comic timing, like that of most everyone else in "Oscar," brings much pleasure to the audience.

As his two lackeys, Connie and Aldo, Nick Iacobucci and Jimi Mehs go together like Mutt and Jeff. Disgruntled at having to answer the door -- over and over again, it turns out -- and having to cook and serve tea, they combine needed wryness and understatement in their sardonic responses to their employer's decision to re-invent himself.

Matching them shtick-for-shtick are Dicola and Smith as the fussy Italian tailors.

Shannon Solo is stuck with the most conventional role as the accountant, but he smoothly sets up the humor provided by others.

Jircitano's Lisa lends spunk to the role of the spoiled daughter, Canfield's Dr. Poole is a properly persnickety linguistic scholar and teacher, and Betsy Butoryak is the prim Provolone wife and matriarch in whose presence Snaps cannot utter a profane syllable.



Others in the cast include DanPruyn as the police detective, Craig Schneider as one of the bankers, and Clinton Young in a dual role as a banker and a chauffeur who returns one of the satchels.

I recently watched the film "Oscar" in preparation for seeing and reviewing Bucci's stage adaptation, and I can honestly report that I found the play to be far more amusing and entertaining.

Without benefit of editing, close-ups, or musical reinforcement of desired audience response, Bucci's transformation of the material is a worthy stage vehicle and equally worthy evidence of his well-honed stage skills.

What's more, his permission-granted use of excerpts from Elmer Bernstein's original film score lends an unusual touch of class to what we hear before the opening curtain and during intermission.

'Oscar: A Comedy of Criminal Proportions' is directed by Jamie Pryber, with Chris Bucci, Shannon Solo, Jackie Jircitano, Nick Iacobucci, Jimi Mehs. It's playing Oct. 20-23, 27-30 at North East High School auditorium, 1901 Freeport Road, in North East. Show times are Thu / Fri / Sat at 7:30 p.m., Sun at 2 p.m. Tickets are $8, $6 for students and seniors, and are available at 898-2457 and at the door. For details, visit online at www.erieoscar.com.