As a motion picture, “Crossing Delancey” was a standard pop comedy with simple romance. An unexpected hit in the contemporary film world of action blockbusters, its animation is of the human kind. It’s heavy only on Jewish urban life, characters, conversation, and comic references. They come together with universal sentiments in the stage version and make for enjoyable light summertime theater. If there is a problem, it’s that Susan Sandler’s theatrical script is still mainly a cinematic one. Theatrical blackouts separate the multitude of scenes, slowing activity. In film, no such pauses draw out even the slightest changes in time and settings. Director Carole Kleinberg employs sometimes effective lighting and musical transitions as well as swift entrances into next sets. Still, the side-by-side, two-part set (bookstore to kitchen with living room chair and lamp on the side) is the theatrical equivalent of a tennis court. The game involves bookseller Izzy’s crush on young writer Tyler (Joshua Brin, self absorbed). Izzy (Lauren Ward, self-deprecating) takes him for an intellectual and big talent. Sandra Musicante’s Bubbie (stereotypical Jewish grandma who’s pushing marriage, especially to a nice Jewish boy for Izzy) gets help from Hannah (Trudie Kessler, always determined). She’s much the Matchmaker and is pushing pickle-maker Sam (Jeff Cima, normality personified). Will Izzy be got? And if so, who gets her? The answers constitute the essence of the plot. The real fun is in the dialogue, which the actors handle very well. Tim Beltley’s costumes help in distinguishing the characters as they reveal their true natures. Patrick Bedell’s lighting, as mentioned, meets the need for transitions. Director Kleinberg’s program notes indicate her pleasure being involved with the play, a sentiment that seemed to be shared by opening night viewers.
