The return of this brisk, smart provocation of a monologue is a cheering development, all the more so because it’s a belly-laugh funny show.
On a narrow, curving street in the West Village of Manhattan, a sign of hope: A production that went dark just before Christmas, as the Omicron variant descended on the city, has opened back up at the Cherry Lane Theater.
Sure, that’s what the comedian Alex Edelman’s publicists said would happen when his solo show, “Just for Us,” abruptly cut short its run there in December, promising a Jan. 24 return. But when a production goes into pandemic hibernation, it’s easy to worry that it won’t emerge again.
The return of “Just for Us,” then, is a cheering development, all the more so because it’s a belly-laugh funny show. A brisk, smart provocation of a monologue, it’s about race and identity in American culture, and about the tantalizing impulse to reach across the chasm to the hard-core bigots among us.
Such as the white supremacists who, Edelman tells us, tweeted a public invitation to a meeting they were having in Queens — though when he took them up on it, he went as an infiltrator. Hoping that no one would realize he was Jewish, he didn’t exactly have unity on his mind. But then he spied an attractive woman he calls Chelsea, and decided to chat her up.
“I thought to myself, with no irony: You never know,” he says, and widens his eyes at his own idiocy.
He twines the story of that prepandemic gathering, which began with the assembled racists grousing about the then-recent wedding of Prince Harry and Meghan Markle, with a recollection from his early childhood: the time his mother, seeking to comfort a bereaved friend, decided that their Orthodox Jewish family would host a Christmas celebration for her, complete with presents and a tree. With a dreidel on top.
Is the dreidel detail true? An embellishment? Either way, it works. Tom Stoppard makes a similar joke in his recent epic play “Leopoldstadt,” only there the tree topper is a Star of David. The two shows are apples and oranges, but antisemitism and assimilation are major themes in both. Stoppard is writing about historical Nazis, while Edelman disparages the 21st-century bigots as “Nerf Nazis”: pathetic wannabes. “These are not life’s winners,” he says.
Directed by Adam Brace, “Just for Us” is an inherently political piece from a comedian who says he has tended to avoid talking politics onstage. (“Because it bums everybody out!” Edelman booms near the start.) It’s about whiteness, the privileges that accompany it and the hierarchy that — as he saw growing up in Boston — rates Mayflower-descendant types as an aspirational American ideal.
More philosophically, the show pokes and prods at empathy and morality, and the ways that othering whole categories of people makes it easy to dehumanize them. Which is a sharply relevant observation in the midst of this ideologically polarized public health crisis.
“It’s so hard to hate up close,” Edelman says, but of course that isn’t true for everyone. The white supremacists at the meeting, it turns out, seemed to have no problem with hating him. Which rankled, because part of him wanted them to like him. And yes, he knows that’s absurd.
Edelman ends “Just for Us” on a deliciously funny high: by recounting his petty, perfect act of vengeance against the white supremacists. The show itself counts as another revenge — bigger, bolder and with the audience at the Cherry Lane firmly on his side.
Just for Us
Through Feb. 19 at the Cherry Lane Theater, Manhattan; cherrylanetheatre.org. Running time: 1 hour 15 minutes.
Source: Theater - nytimes.com
