Review: 'Tales from the Guttenberg Bible' Is a Fan-Favorite at Bay Street

As the last of Bay Street Theater’s big three Mainstage 2023 shows, Tales from the Guttenberg Bible, directed by David Saint and produced by Julian Schlossberg, has some big shoes to fill following past season finales like Ragtime and Annie Get Your Gun.

Does it reach the high bar set by previous Mainstage finales? For fans of Steve Guttenberg, 1980s Hollywood or uplifting autobiographies, it would be difficult to raise the bar much higher.

Appearing in the very first scene, and every scene thereafter, Guttenberg, doesn’t tease his audience with paltry cameo appearances. People came to see the true story of Guttenberg’s rise to Hollywood fame, as written and told by the star of classic ’80s flicks like Three Men and a Baby and Police Academy, and that’s exactly what he delivers. Well, almost exactly.

Throughout the show, Guttenberg speaks earnestly about his experiences — from highlights like sneaking onto the Paramount Studios lot by pretending to be then-CEO Michael Eisner’s son to poignant observations about the exploitation of actors such as himself.

While he does interact with his three co-starring actors, he largely keeps his attention on the audience, enlightening us to his innermost thoughts at the time of the memory, as well as his insights looking back now.

It’s no stretch to say that Guttenberg is the heart and soul of the production; he’s the emotional core that pulls the audience back from their fits of laughter following any scene involving one of the three other actors.

While Tales from the Guttenberg Bible will satiate anyone curious about the actor’s adventures in Hollywood and run-ins with household names like Laurence Olivier and the Village People, Guttenberg is mindful to balance his spotlight time with that of the three most important people in his life: the father whose wisdom guided him, the mother whose strength inspired him and godfather Michael Bell who took the 17-year-old under his wing as he took his first steps into the acting world.

Stories of Guttenberg’s popular sci-fi film, Short Circuit, and of his star on the Hollywood Walk of Fame were noticeably absent, but, in light of the show’s runtime (1 hour, 40 minutes, no intermission), cutting a few accolades to save time to reflect on his family’s values and Jewish heritage made for a more touching and well-rounded production.

This emphasis on the family that was with him in spirit throughout his journey is most impactful in the final scene of the production, when Guttenberg sings a few lines from what sounds like The Spaniels’ “Goodnite, Sweetheart, Goodnite” in a tribute to his father, who passed away a little over a year ago.

With Guttenberg driving the play’s emotional core, one might wonder where the advertised “farcical, laugh-out-loud” comedy comes into play. The play’s namesake does receive several laughs for his witty storytelling, but he wisely surrounds himself with wild scene-stealers. The story’s over-the-top comic relief comes from his three supporting actors, who collectively portray 90 characters.

As confusing as that attempt could’ve been if not executed well, costume designer Lisa Zinni and the actors deserve a hand for the feat they’ve pulled off. Costume swaps are kept simple but effective, allowing the three multi-part actors to retain one base outfit while changing jackets, headpieces and other accessories to identify each new and recurring character.

The acting furthers these distinctions by driving up the unique mannerisms, accents and personalities of famous figures to caricature levels. It is delightfully ridiculous.

Arnie Burton is a truly special comedic actor, whose antics in the show exclusively bring Guttenberg to the brink of breaking character. Portraying figures including The Boys from Brazil director Franklin Schaffner, talk show host Merv Griffin, Players director Anthony Harvey, Three Men and a Baby costar Ted Danson and the film’s director Leonard Nimoy of Star Trek fame, Burton’s character work is brilliantly exaggerated and surprisingly varied.

Whether he’s playing up a character’s flamboyance, irritability or Vulcan lack of emotion, he does so to great comedic effect.

Interestingly, one of Burton’s funniest characters is his role as Guttenberg’s father opposite Carine Montbertrand as the mother. Though Guttenberg holds his parents in high regard and always speaks respectfully of them in the show, their portrayals by Burton and Montbertrand are right at home with the other zany, colorful characters.

The duo has hilarious onstage chemistry as they banter on the phone — a recurring element represented throughout the show by characters popping their heads through one of four windows in the stage’s back wall — and since the pair shares a phone, they’re awkwardly crammed into one window, humorously struggling for a little breathing room.

Montbertrand’s other characters include film critic Pauline Kael and Genie Francis, famous for playing Laura on General Hospital. Even if she doesn’t play that many named characters, her comedic timing is key to the humor of many scenes, even when she’s literally an extra in the scene and the scene within the scene. During the few times Montbertrand is offstage, there’s a palpable anticipation as the audience awaits her next hysterical scene.

Rounding out the cast, and more than a dozen characters, Dan Domingues is introduced as Michael Bell, the godfather who leaps abruptly on and off stage whenever he enters/exits, and goes on to portray actor Gregory Peck, comedian Jerry Seinfeld, Diner director Barry Levinson, Players producer Robert Evans, Tom Selleck of Three Men and a Baby and KFC’s Colonel Sanders. His charmingly cartoonish accents consistently kick off a cacophony of cackles from the raucous audience.

Beyond Set and Projection Designer Caite Hevner’s cleverly conceived back wall keeping the phone call scenes visually interesting, the stage is relatively empty, with two benches repositioned in each scene and a beaded curtain splitting the back wall, which creates an interesting effect on the projections displayed there.

Further amplifying the show’s production quality are contributions from Lighting Designer Joe Saint, Original Music and Sound Designer Scott Killian and Production Stage Manager Samantha Flint.

Tales from the Guttenberg Bible is a must-see for those craving a one-of-a-kind, behind-the-scenes look into Hollywood culture through the lens of one of the most recognizable actors of a generation.

Bay Street Theater’s production of Tales from the Guttenberg Bible, presented in partnership with George Street Playhouse, runs through August 27. For tickets, call 631-725-9500 or visit baystreet.org.