Jim Brochu's one man show Zero Hour brings to startlingly vivid life one of America's greatest comedians, Zero Mostel. He captures the essence, the moves, the voice, the persona of the first Tevya, the first "producer," and other spectacular performances by this unforgettable character. Years ago, I saw Zero himself turn into a Rhinoceros in Ianesco's play, and Brochu gives us a taste of that. Most of the play is about what Zero considered to be his métier: painting, and about the oppression by the House Un-American Activities Committee in the '50's mainly its suppression of the arts and artists. This affected Zero and many of his friends, and destroyed some of them. Brochu powerfully tells the stories, and since it remains in the larger-than-life, but totally believable, character, we are unceasingly held by the performance. Piper Laurie has directed the show with a deep understanding of the rhythms, the bursts of energy and the plateaus necessary for live theater to hold and excite its audience.
Lighting by Jason Arnold is probably the worst I've seen in a very long time. Mostly, the full stage is brightly lit, and then when Mr. Brochu is communicating a special bit on the side of the stage, it is so dim it strains the eyes. Then, suddenly the whole stage is bright again. Lighting for his testimony to the HUAC is fine, but when stage lighting calls attention to itself, it is failing. Hopefully when the show moves to the DR2 on 15th Street in the near future, this flaw will be corrected, and we can fully appreciate this great, award-level performer in a powerful, don't-miss vehicle.
