Those vivid visual aids (the real Burns and Allen are even depicted on the program cover), however, also serve to underscore the vast disconnect between Burns, who died in 1996, and this version of Holmes' solo bio-play. Gorshin not only had the benefit of doing the show a mere six years after Burns' death; he gave the performance of his life. He seemed to inhabit his subject, going way beyond the vocal and facial impressions that Gorshin was justifiably known for, and he exhibited a committed subtlety in his acting that he had never demonstrated before. When Burns, who was the quondam movie God, talked to the real God, reviewing his life in hope of getting out of purgatory to join Gracie—Holmes' conceit for this play, not as corny as it may sound—you could almost believe it was the beloved comic talking his way into heaven.
Not so with Joel Rooks, who was Gorshin's understudy on Broadway and has played the role in other venues over the years. He bears far less physical resemblance to Burns, and his stance, gestures, movements, and even accent seem studied and applied rather than organic. It's as if he's giving a pre-PowerPoint lecture on 20th-century show business and decided to dress the part for Halloween season. This makes the show seem longer than its 85 minutes.
As with most solo shows, the sets, costumes, and props are minimal and the actor can seem self-directed. Indeed, in this case there is no director in sight (John Tillinger did the job on Broadway), just the peculiar "staging" credit to William Franzblau, who is one of this production's two producers as well as a producer of the 2002 original. Perhaps it's time to rethink that production instead of just dusting it off.
Presented by Jenkay at St. Luke's Theatre, 308 W. 46th St., NYC. Opened Oct. 30 for an open run. Fri.–Sun., 2 p.m. (212) 239-6200, (800) 432-7250, or www.telecharge.com.
