Zusammen mit Leslie Anderson, John Beal & Danny Burstein spielte Jack 1993 in dem Theaterstück mit. Aufgeführt wurde es im April am Lyceum Theatre.
Hier das Programmheft zum Stück:
Es wurde vom 13.04.1993 - 16.05.1993 aufgeführt. Es gab 39 Vorstellungen in diesem Zeitraum
Jack Klugman spielte Patsy. In einer kleinen Rolle spielten auch Tony Randall und Jerry Stiller ("King of Queens") mit
Quelle:
http://www.ibdb.com/production.php?id=4711und das hier:
Review/Theater: Three Men on a Horse; An Odd Couple Take to the Track For Love and Luck
By MEL GUSSOW
Published: April 14, 1993, Wednesday
In its two seasons on Broadway, the National Actors Theater has often seemed like the greenest of expansion teams. Can anyone here play this game? Among the victims were Feydeau and Chekhov (although Shaw fared better with "St. Joan"). But nothing can equal "Three Men on a Horse," which opened last night at the Lyceum Theater with a reunion of Tony Randall and Jack Klugman, television's "Odd Couple." This time, Mr. Randall's company is defeated by a double burden of miscasting and maladroit acting. The way to revive "Three Men on a Horse" would be to rejuvenate it with an ensemble of young actors and clowns. Instead, the approach is the opposite: a geriatric production.
Since its Broadway premiere in 1935, the John Cecil Holm-George Abbott comedy has proved to be a durable staple and has also inspired two musicals. After the troupe's experience with classics, this lightheaded farce should have been the easy one. In John Tillinger's production, however, the show is as dim and contrived a play as could be imagined. It is far less viable than "The Show-Off," the 1924 George Kelly comedy presented this season at the Roundabout Theater Company.
Mr. Tillinger, usually a fine director, has steered the play right into an iceberg. The staging is lifeless, with slow, split-minute timing (and flimsy scenery). Admittedly, certain casting choices must have been beyond the director's control. Mr. Randall plays the youthful hero, Erwin Trowbridge, a greeting-card poet turned wildly successful race track tout, and Mr. Klugman is a tough-talking gambler who takes advantage of Erwin's innocence and his intuitive betting system.
Both actors are more than twice too old for their roles. If they really wanted to share a stage again, they could have discreetly moved along the Neil Simon road and played the aged vaudevillians in "The Sunshine Boys" or they could have assumed supporting roles in "Three Men on a Horse." In an act of histrionic hubris, Mr. Randall plays a timid soul such as might have been portrayed 50 years ago by James Stewart (or perhaps by Mr. Randall himself) and today by Matthew Broderick.
As Erwin, the actor is married to Julie Hagerty and at one point he is aroused by the dancing of the gambler's chorus girlfriend (Ellen Greene). In his scenes with both actresses, particularly those in which he kisses Ms. Hagerty and dandles this tall actress on his knee, Mr. Randall seems more a doting grandfather than an affectionate husband.
His performance reminded me of the time that Dame Judith Anderson, then in her 70's, played Hamlet at Carnegie Hall, and Hamlet lost. Wearing corny clothes and a squashed hat (even in bed), Mr. Randall looks like a Red Skelton hayseed, and he treads heavily on his punch lines.
Mr. Jack Klugman is another, sadder case. Because of an operation on his larynx, he is vocally impaired. Remembering his accomplishments on stage and as television's Quincy, one feels sympathetic. In his prime, he would have been a likely candidate to play this Runyonesque part, created on Broadway by Sam Levene (who also played it in the film and in revivals). It can be said about Mr. Klugman's performance that he is sprier than expected. But there is something embarrassing about seeing him and his co-star cavort like characters from "Cocoon."
The other actors suffer varying degrees of diminishment, although John Franklyn-Robbins's late arrival as Erwin's apoplectic boss has the right note of bluster. Among the lost is Ms. Greene, a talented musical actress, who regresses into self-caricature. To distract the audience, Mr. Tillinger has added musical interludes. Between scenes, a singer and a pianist (Nora Mae Lyng and David Geist) offer songs from a position in the narrow orchestra pit. Ms. Lyng sings merrily, even when the song is as inappropriate as "Happy Days Are Here Again." Three Men on a Horse By John Cecil Holm and George Abbott; directed by John Tillinger; settings by Marjorie Bradley Kellogg; costumes by Ann Hould-Ward; lighting by Richard Nelson; sound by T. Richard Fitzgerald; music direction by John Kander; hair by Robert Fama; fight choreographer, Jerry Mitchell; production supervision by Bonnie Panson. Presented by the National Actors Theater, Tony Randall, founder and artistic director; Michael Langham, artistic director. At the Lyceum Theater, 149 West 45th Street, Manhattan. Audrey Trowbridge . . . Julie Hagerty The Tailor . . . John Beal Erwin Trowbridge . . . Tony Randall Clarence Dobbins . . . Ralph Williams Delivery Boy . . . Danny Burstein Harry . . . Joey Faye Charlie . . . Jerry Stiller Frankie . . . Zane Lasky Patsy . . . Jack Klugman Mabel . . . Ellen Greene Moses . . . Helmar Augustus Cooper Gloria . . . Leslie Anderson Mr. Carver . . . John Franklyn-Robbins Al . . . Michael Stuhlbarg Hotel Maid . . . Heather Harlan Sylvia, the Chanteuse . . . Nora Mae Lyng Gus, the Piano Player . . . David Geist
Quelle:
http://theater2.nytimes.com/mem/theater/treview.html?res=9F0CE4D8143DF937A25757C0A965958260
