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Burns lives on in Gem's latest production

By D. A. Blackburn

George Burns was a fixture in showbiz for nearly a century, with a career that could truly be called multi-media. From his early days as a street performer through his success on the vaudeville stage, and as a pioneer in talking pictures, radio, television and the modern silver screen, the affable comedic icon consistently earned belly laughs with his unique style of ironic humor. In
The Gem Theatre's latest production, Rupert Holmes' "Say Goodnight Gracie," Burns' career ventures into new territory – the afterlife.
Holmes' premise is simple; Burns finds himself in limbo, awaiting entrance into heaven. To get there, God requests a command performance, the story of his life. The 90 minutes that follow are an intimate biographical look at Burns, his wife Gracie Allen and the comedy that made both stars.
"Gracie" is structured as a one-man play, but it never feels like one. Holmes has wisely woven in generous portions of archival photos and videos, along with pre-recorded audio of Gracie, created by actress Didi Conn. The role of George Burns, which was created in the Tony-nominated Broadway production by the late Frank Gorshin, has been passed on to the very talented Joel Rooks.
Rooks, who understudied Gorshin, is at ease in the role of Burns, having acquired his mannerisms and voice with genuine nuance through detailed study of archival materials. Good work by the show's wardrobe, makeup and properties departments combine to make Rooks a believable Burns, and throughout the show, it's easy to forget that he's not the genuine article. He performs with a warm and natural charm, just like his inspiration.
While Rooks' performance is superb, the real beauty of the work is Holmes' script. Much of its dialogue is taken directly from Burns' act. Some of "Gracie's" funniest punch lines – even those not delivered via archival materials – are 75 years old. That said, Holmes' writing shows a deep appreciation of the comic, and original dialogue seems to channel Burns in both language and humor.
Moreover, the work succeeds because its subject matter is so rich. Burns' lengthy career and his widely known life-long love of Allen make for juicy material. Through Burns' career, Holmes is able to paint in broad historical strokes, adding true-to-life context to the events of the comic's life. Burns' love for Allen, and also for friend Jack Benny, provide perfect material to tug at audience heartstrings. Though "Gracie" navigates through the losses of both Allen and Benny, it does so with a sentimental, but not sad approach. The effect, which permeates the work, is touching and comforting, like a warm and familiar hug.
Rarely do biographical plays do their subjects justice, but "Say Goodnight Gracie" succeeds admirably in this respect – so much so, that it even meets with the Burns family's seal of approval.
Coincidentally, the Theatre Company at the University of Detroit Mercy has planned the perfect accompaniment to the work for theatergoers who just can't get enough Burns-related entertainment. On Sept. 26, they'll open a fresh production of "The Sunshine Boys," which was Burns' greatest cinematic success.

REVIEW:
'Say Goodnight Gracie'
The Gem Theatre, 333 Madison Ave., Detroit. Wed.-Sun., through Nov. 16. Tickets: $39.50. For information: 313-963-9800 or {URLwww.gemtheatre.com}.

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