Paddy Chayefsky is a great American writer, whose “The Tenth Man,” first produced in 1959, is one of Broadway’s success stories. True to its mission to present worthy 20th century American classics, the American Century Theater is resurrecting “The Tenth Man.”
The play is a curious blend of three elements: observations about modern orthodox Jewish life; the art of Jewish exorcism (how to rid a body of a dybbuk, or spiritual possession); and a sweet, almost fairy-tale romance between a spiritually lost young man and a young woman who is either crazy or possessed.
Sound improbable? Part of Chayefsky’s gift was that he could create situations that seemed absolutely impossible and make them work. The result is an example of pure Chayefsky, a celebration of realism, of ordinary people and of the extraordinary embellishments they invent to make everyday life bearable.
“The Tenth Man” begins in a synagogue in Mineola on Long Island on a cold winter day sometime in the not too distant past. As the men gather for morning prayers, one topic of conversation between Foreman (Paul Danaceau) and Schlissel (Ron Sarro) is Foreman’s concern for his granddaughter, who has been in and out of mental institutions and is not getting any better. He calls her a “catatonic schizophrenic.” Other men, Zitorsky (Mick Tinder) and Alper (Stephen Rourke), get in on the conversation. The suggestion is made that the girl, Evelyn (Kari Ginsburg), be given an exorcism. The elder Cabalist, Hirschman (Craig Miller), is sure it will work.
Prayers are halted because there is not a minyan, the minimum number of Jews — 10 — who have to be present to hold a service. The Sexton (Joe Cronin) desperately telephones people and finally goes outside and dragoons a young man into the service. In this way, Arthur Brooks (Steven Quartell) becomes the tenth man.
Brooks, it turns out, is suicidal, believes in nothing, is heavily into therapy and has been drinking for days. Still, his presence creates the minyan, so as soon as the Rabbi (Matthew Meixler) arrives, the Torah is removed from the Ark and morning prayers begin.
By Act II, Evelyn and Arthur have spent considerable time together, and he realizes she is fragile, not possessed. But when she declares her love for him, he spurns her, spurns love itself. By Act III, the men have witnessed Evelyn dancing and acting wildly and are determined to have Hirschman perform the exorcism.
Again, though, they are shy three men. Again the Sexton goes outside and finds two neighborhood youths, the Kessler boys (Brendan Haley and Jim Callery).
Soon a policeman (Bill Gordon) appears, looking for Evelyn. Thus 10 men are assembled. Black wax candles are distributed, the Cabalist begins his ritual and it is successful — though in a totally unexpected manner: Arthur is cured of his depression and is free to love and take care of Evelyn.
Jameson Shroyer’s set is a perfect refuge for Chayefsky’s assemblage of hard-working souls, a down-at-the-heels synagogue with peeling maroon paint on the walls and mismatched wooden furniture.
Directed by William Aitken, this production contains uneven acting, and the large cast never quite works as an ensemble. But certain performances stand out. Sarro is effective as the atheist Schlissel, and Ginsburg is excellent as Evelyn, who must display manic outbursts as well as total stillness.
Although the production moves slowly, Chayefsky’s writing was designed for dialogue, not action. Full of the sardonic humor that human beings summon to survive their lives, this “Tenth Man” illustrates the blend of total cynicism and impossible idealism that made Chayefsky such a profoundly interesting writer.
