Moment in the Sun, by Elliot Shoenman, currently playing at the Matrix on
Melrose near Fairfax, is a nostalgic look back at 1964 New York City, a time of
the Beatles, the New York World's Fair, multiple daily newspapers competing
for New Yorkers' attention, and the Ed Sullivan Show on Sunday nights.
Baseball reigned supreme, and open heart surgery was becoming a more
commonplace reality. Shoenman was 18 at the time, coincidentally (?) the
same age as Moment in the Sun's teeange lead character Jerry, whose
parents are sportwriter Alan and immigrant escapee from Nazi Europe
Ruthie. Alan has been offered a dream promotion reporting in the press box
of the New York Yankees, Ruthie is trying to convince Jerry to stay in the city
rather than go away to college, and Jerry is coping with just growing up.
When Ruthie becomes seriously ill, this comedy becomes dramedy, with many
tear provoking moments amid the laughs.

With its multi-scene multi-set format, Moment in the Sun often feels more like
a movie than a play, which works better in Act 1 than in Act 2 (when shorter
and more frequent scenes mean more blackouts, therefore less smoothness
and a loss of momentum). Not that a cinematic play is a bad thing...and the
Matrix's wide stage easily allows for 4 sets and relatively quick scene changes
and Shoenman's story is both funny and compelling.

The cast is tip-top. Dynamic Michael Mantell is a caring but conflicted
(between family and work demands) husband-father and Penny Peyser
(who I remember from her many TV roles in the 70s) shines as Ruthie (her
European/Jewish accent is consistent and just right). Sheila Oaks and Greg
Lewis avoid over-the-top stereotypes as Mantell's parents. And Josh
Jacobson is a suitably awkward teen, torn between his love for his family and
his desire for freedom. Jacobson's performance is a stand-out; he explodes
with teen anger, then has very powerful moments as his character Jerry
copes with fear and loss. He is an actor with talent and depth.

The pressbox at Yankee Stadium brightly to life in the performances of Larrs
Jackson and Howard S. Miller as veteran sports reporters and lovely Stacy
Keanan as Diane, who should be a reporter, and would be had she been
born a few decades later. Jackson especially is outstanding in a trio of roles
(he also plays a heart-surgeon and a rabbi); audience members not looking
at their programs might think three different actors were playing the roles,
he's that good (and the hat he wears as "Lefty" helps.) The casting of Miller
(a very good actor) in three roles is less successful, as the audience reaction
("What's the sports reporter doing in Dr.'s garb?") would indicate. Also there is
a scene in Act 2 between Jackson and Keanan about her character's
"secret" which, though interesting in and of itself, has no bearing to the plot,
and should be cut, painful as that might be to Shoenman and the two
actors.

Nathan Matheny has created four distinct sets on the Matrix stage
(including the press box and a hospital waiting room) and Barbara
Inglehart's early 60s costuming is wonderfully accurate. Mark L. Taylor has
directed Shoenman's heartfelt script with verve.
JANUARY 2007, MATRIX THEATRE, LOS ANGELES.

--Steven Stanley