Susan Granger’s review of “Sly Fox” (Barrymore Theater: 2003-2004 season)
Something goes terribly wrong with this revival of Larry Gelbart’s “Sly Fox,” based on Ben Jonson’s 1906 comedy “Volpone.” And it’s a critic’s job to dissect what and why.
Set in San Francisco, “Sly Fox” revolves around a wry, miserly con-man, Foxwell J. Sly, who pretends to be on his deathbed so sycophants will dote on him, making sure they’re his heir.
The subject is avarice, which is certainly relevant these days – what with the Enron, Tyco and Martha Stewart revelations. And as the creator of “M.A.S.H.” and “A Funny Thing Happened on the Way to the Forum,” Larry Gelbart knows his way around comedic situations, as does director Arthur Penn. The ensemble has impeccable credentials: Oscar-winner Richard Dreyfuss, Eric Stoltz, Bob Dishy, Rene Auberjonois, Bronson Pinchot and Professor Irwin Corey. George Jenkins and Jesse Poleshuck’s sets and Albert Solsky’s costumes lend authenticity.
So what went wrong? First, miscasting. Richard Dreyfuss does not have the duplicitous stature and energy of George C. Scott, who propelled the 1976 version into a hit. And his curmudgeon con-man “shtick” shows, particularly when he doubles as the corrupt Judge. Eric Stoltz is charming yet bland as Sly’s manipulative manservant/protégé. Then there’s the discordant time structure and diverse acting styles of the supporting players. The dialogue is contemporary, using terms like “bimbo” and “twit,” yet the costumes suggest turn-of-the-century. As a prostitute, Rachel York does a Mae West imitation, while Elizabeth Berkley (last seen cavorting nude in “Showgirls”) tries unconvincingly, to act pious and prim with her clothes on. Add these miscalculations together, and the greedy delight of “Sly Fox” quickly fizzles.