Although decades have passed since this award-winning chestnut debuted on Broadway in 1964, the characters in A Thousand Clownsring as true today as they did then. The play revolves around the life of Murray Burns, a real-life Peter Pan. Despite the fact that he’s in his 30s, Murray just doesn’t want to grow up; “responsibility” is a dirty word in his vocabulary. No wonder he has no wife, no family, and no decent place to call home. What he does have is a bright, precocious 12-year-old, unwittingly dumped on him years ago by his even-more-irresponsible sister.
From the outset, it’s clear that uncle and nephew love, respect and appreciate each other. However, the intrusive child-welfare board doesn’t appreciate Murray’s lifestyle or his unsanitary living conditions. Two of the agency’s representatives (Matt Daniels and Beth Mulkerron) pay a visit to Murray’s apartment to deliver the bad news. Either Murray (Tom Klubertanz) has to shape up, or the boy will be moved to a more suitable home.
The production is set in the 1960s. In today’s world, where jobs are scarce and many people are afraid to defy authority for fear of the unemployment line, it’s difficult to understand Murray’s thinking. He thumbs his nose at various jobs offered to him by his agent/brother, Arnold (Patrick Lawlor). Okay, Arnold admits, these jobs aren’t the greatest. But Murray has burned a lot of bridges in his profession – which is TV comedy writing. Arnold loves his brother but can’t understand Murray’s reluctance when Nick’s future is on the line.
In contrast, Arnold has done well for himself over the years. He admits that he had to kiss up to his superiors in order to land a plush office – but so what? It’s just business, he tells Murray.
This all sounds like serious stuff – and it is – but A Thousand Clowns offers so many one-liners that audiences may imagine stumbling into a Neil Simon comedy by mistake. Director Jonathan West maintains the comic delivery at a machine-gun pace. Both Tom Klubertanz (as Murray) and Thomas Kindler (as Nick) are brilliant in their respective roles. They play off each other like old-time vaudevillians. Their talents extend to playing ukulele, which they do in order to impress the female social worker. As Murray, Klubertanz reminds one of a young Alec Baldwin.
Nick is so taken by his uncle that he wants to officially change his own name from Nick to Murray. Shocked and flattered, Murray finally understands that he has to become an adult.
In an 11th-hour scene that is worth waiting for, Murray pulls his punches in order to pacify the obnoxious host of a children’s TV series (nicely played by veteran comic Stephan Roselin) who wants to re-hire him. The audience knows Murray would rather chew glass than take orders from this numskull. The scene between Murray and Leo (Roselin) is sharply delivered and adds some juice to the play’s final scenes.
Although A Thousand Clowns doesn’t contain any actual clowns, it has enough comic firepower to delight audiences of all ages.
In addition to the cast and director, credit also goes to Murray’s disheveled apartment and Arnold’s squeaky-clean office, both created by set designer Brandon Kirkham. Costumes are authentically 1960s, thanks to the talents of Kirstina Van Slyke. Lighting and props are equally well-executed by this production team.
