It seemed that a play with such esteemed and versatile actors as Richard Dreyfuss and Eric Stoltz (The Butterfly Effect, Pulp Fiction) could not disappoint. Unfortunately, expectations proved too high, and the evening of theater was, at best, mildly entertaining.
Still, the blame cannot be placed on any of the performers, but instead on the weak plotline and coarse humor. A revival from Larry Gelbart's (creator of TV series M*A*S*H) 1976 original comedy, Sly Fox revolves around several greedy and unappealing characters -each out to con one another and obtain as much gold and riches as possible. Set during the California Gold Rush, people are falling all over themselves, literally, to get rich quick. With all this hysteria, the appropriately named Foxwell J. Sly (Dreyfuss) and his dedicated assistant Simon Able (Stoltz) embark together to swindle their friends and foes alike. Throughout the story, Sly pretends to be bedridden with a fatal illness to dupe the others into sharing their secrets, as well as their money. Naturally, more miscommunication, confusion and deceit ensue, infiltrating the production with outrageous scenes and over-the-top comedy.

Although the constant jokes are clever at times, they become tedious and vexing. The audience reaction verified this as its initial boisterous laughs developed into polite giggles. Lines that were particularly witty included Sly's statements "Gold ... God with an 'L'" and "[Gold] ... find it, fondle it, lie next to it in the earth ... this is the only advantage to dying." Still, even these were disconcerting and unappealing. But, to be fair, in the rare moments that a character was being serious, the dialogue was smart and entertaining.

Nearly redeeming qualities of Sly Fox included the performances of Dreyfuss and Stoltz, as well as the supporting cast. The actors played their roles with energy and wit, and each one brought a solid performance to the stage. Veteran stage and movie actor Richard Dreyfuss was indeed ideal for Foxwell J. Sly, as he seems to excel as grumpy, sarcastic, "irritating pests and brash, ambitious hustlers" (www.imdb.com). His next endeavor will surely delight when he takes over for Nathan Lane as Max Bialystock in the wildly funny The Producers on Broadway. Although Lane is a terribly hard act to follow in this or any role, Dreyfuss has the experience and talent to succeed.
Eric Stoltz had a gentle demeanor about him and, even as an avaricious accomplice, was one of the only endearing characters in "Sly Fox." His subtle acting and comedic skills shined while everyone else tried too hard. Always playing diverse characters in theater and film (from the bit part of John Brooke in 1994's Little Women to the larger role as Alan MacDonald in 1995's Rob Roy), Stoltz has a wonderful range, which was refreshing to experience.

Two other supporting cast members worth mentioning were Bronson Pinchot (memorable as quirky cousin Balky from the late 80's sitcom Perfect Strangers) and Elizabeth Berkley (best known to Generation X as Jesse from Saved by the Bell). Mainly an actor on TV and the stage, Pinchot gave a fine performance as Lawyer Craven, an old "friend" of Sly's, who really wants his "good buddy" to pass on quickly, so he can collect the riches. Additionally, Berkley has come far from her Showgirls days, and displays her development as an actress in her role as the naave, puritan Mrs. Truckle, who has a hint of rebelliousness and verve that come out periodically.

Beyond these performances, the most impressive element of Sly Fox was the set design. With a revolving stage that turned into five diverse locations, including Sly's bedroom, Truckle's living room and a jail cell, the versatility proved impressive. In addition, the illuminating color schemes and decorations were true to San Francisco in the late 1800's. The two Scenic designers-four-time Tony nominee, George Jenkins and a virgin to Broadway productions, Jesse Poleshuck-deserve much praise. Furthermore, costumes were tasteful and appropriate for the era.
Sly Fox is heading to Broadway as we speak. Its run in Boston ended in early March, and it opens at the Barrymore Theatre on April 1. If you are lucky enough to visit the Big Apple to see a show or two, do not make this one a priority. A vast number of superb dramas, comedies, and musicals are open on Broadway now, so take advantage of those.