ScheckOnTheater

Stephen Sondheim Theatre, NYC

His fans may have aged, but somehow Pee-wee Herman, aka Paul Reubens, has somehow managed to avoid the ravages of time. Appearing for the first time on Broadway in a revamped version of the live show that first garnered him fame nearly three decades ago, the actor’s singular, iconic creation proves ready to conquer yet another world.

It’s amazing that, in his late fifties, Reubens would still be capable of credibly playing the oversized man/child with the too tight clothes. But the still lanky actor has retained the physicality and, more importantly, the manic energy that endeared the character to children of all ages.

It immediately becomes clear--judging by the rapturous ovations greeting the appearances of the iconic playhouse set and every familiar character—that neither the passage of time nor a certain scandal have done little to diminish their ardor for the classic “Pee-wee’s Playhouse” television series.

Fans will be relieved to know that all of its elements have been dutifully reprised, including such characters as Miss Yvonne, Cowboy Curtis, Pterri the Pterodactyl, Jambie the Genie and perhaps its most beloved figure, Chairry. Besides Reubens, three of the original performers are on hand to reprise their roles: John Moody (Mailman Mike), John Jaragon (Jambi) and Lynne Marie Stewart (Miss Yvonne). For this show, a new character has also been introduced: Sergio the Handyman (Jesse Garcia), with whom Pee-wee engages in comically fractured Spanish dialogue.

Truth be told, the script, written by Reubens and Paul Steinkellner with additional material by Paragon, is somewhat lacking in true wit. Considering its perfunctory storyline of Pee-wee yearning to fly and the series of lame, adult-directed double entendres, non-fans are likely to be left wondering what all the fuss is about.

The gags--ranging from the classic (Pee-wee’s mantra of “I know you are but what am I?”) to the contemporary (bits about social networking, abstinence rings and such celebs as David Beckham and The Situation)—are hit and miss.

But the show is bursting with visual invention, from David Korin’s faithful replication of the original, garishly colored set to the eye-popping costumes to Basil Twist’s superb puppetry. And there are moments, such as Reubens’ lengthy mimed struggle with a balloon and Pee-wee’s climactic joyful launch into flight, that are undeniably magical.

Whatever quibbles there are to be found, “The Pee-wee Herman Show” represents a triumphant comeback for the indefatigable Reubens and his signature creation, who with any luck will once again grace the big screen.

Stephen Sondheim Theatre, 124 W. 43^rd St. 212-239-6200. Telecharge.com. Through Jan. 2

Playwrights Horizons, NYC

Through Nov. 28

Politics and family drama mesh uneasily in After the Revolution, Amy Herzog’s densely textured play about three generations of a family of leftist activists. Previously seen at the Williamstown Theater Festival, the work has been given a beautifully acted and staged Off-Broadway production that is only sporadically compelling.

Set in 1999, it concerns the Joseph clan, especially lawyer daughter Emma (Katharine Powell), whose world is rocked by the revelation that late grandfather Joe, a victim of the blacklist who famously refused to name names before the House Un-American Activities Committee, actually spied for the Russians in the 1940s.

Emma, who has established a foundation for leftist causes, is particularly devastated by the news, fearing that it will threaten its efforts on behalf of (real-life figure) Mumia Abu-Jamal, a journalist/activist on death row for the killing of a Philadelphia policeman.

This puts her in conflict with father Ben (Peter Friedman), a Marxist passionately committed to the cause, and her other family members, including her grandmother Vera (Lois Smith), still loyal to her late husband but beginning to suffer mental decline; her less politically engaged Uncle Leo (Mark Blum); her loving but conflicted mother Mel (Mare Winningham) and sister Jess (Meredith Holzman), fresh out of rehab. Also involved are Miguel (Elliot Villar), Emma’s romantic and professional partner, and Morty (David Margulies), a rich family friend who is prepared to provide her foundation with a multi-million dollar endowment.

The endlessly talky proceedings will prove enervating to those not deeply interested in the issues being addressed, but the playwright displays a real facility for incisive characterizations and pungent dialogue. Adding greatly to the evening’s impact are the performances by the superb ensemble, with Friedman particularly strong as the father so devoted to his daughter that he is reeled by the knowledge that she smokes.

Staged smoothly and cogently by Carolyn Cantor, the production moves so briskly that once can easily tolerate the play’s more annoyingly polemical aspects.

Playwrights Horizons, 416 W. 42^nd St. 212-279-4200. www.TicketCentral.com.

Colin Quinn: Long Story Short

Helen Hayes Theatre, NYC

Through Jan. 8

When a stand-up comedian ventures onto Broadway, he usually feels the requirement to give his show a “theme.” Such is the case with Colin Quinn: Long Story Short, in which the veteran performer professes to tell the history of the world. In 75 minutes, no less.  

But while Quinn dutifully fulfills his self-imposed requirement by proceeding chronologically in his monologue from the caveman era to the present day, the real attraction is that he’s very, very funny.

The show, now being given a limited Broadway run after a successful downtown engagement, boasts another marquee presence in the form of its director, none other than Jerry Seinfeld. (His bio simply describes him as “a comedian who resides in New York City with his wife and three children.”)

Best known for his five-year stint on Saturday Night Live where he manned the “Weekend Update” chair, Quinn brings a surly Irish brusqueness to his humor. Whether discussing Darwin’s theory of evolution (“We’re the survivors, but obviously not the fittest”) or the excesses of the Roman Catholic Church (“like a Death Row Records release party in the ‘80s”), he gives his mock history lesson a decided edge.

With so many comics delivering tired routines about relationships or Sarah Palin, it’s a relief to hear witty gags about such relatively weighty topics as the fall of the British Empire (they “overfranchised”) and the infighting of African countries (“like six Brooklyn high schools letting out at the same time”), even if he occasionally does stray into delivering the sort of routine observational riffs that are nightly fodder in comedy clubs.

His commentary is accompanied by historical and other images pertinent to his topics that are snazzily projected on a giant video screen, while the set nicely evokes the evening’s theme with its Greek amphitheater-style steps and Romanesque columns.

Quinn’s last solo outing, Colin Quinn—An Irish Wake, was similarly funny, but tended towards self-indulgent rambling. He’s clearly benefited from Seinfeld’s influence, as this show features tight pacing and a steady procession of hilarious one-liners.

Helen Hayes Theatre, 240 W. 44^th St., 212-239-6200. www.telecharge.com.