Eddie Sarfaty

September 13, 2015

Eddie SarfatyEddie Sarfaty is an emphatically Jewish, comic, one whose cultural identity stays front and center throughout his set. His show “Playing in Traffic” (at the Metropolitan Room) features jokes about having been a depressed kid, about harboring envy of Gentiles (whose holidays were so much more festive and fun than the ones he celebrated), and, of course, about his indomitable mother (a force of nature and an ever-flowing font of parental concern). All of this is familiar territory, to say the least. But Sarfaty is also openly and matter-of-factly gay, which puts a different twist on the well-worn shtick practiced by such stand-up talents as Lenny Bruce, Woody Allen, and Richard Lewis.

Definitely no wimp, Sarfaty—originally from Commack, N.Y.—is slightly stocky and scruffy. He looks as though he’s been hitting the gym regularly. His likeable persona is that of someone comfortable in his own skin. This is not to say he’s neurosis-free, of course. He can be a worrywart—sometimes stroking his skull in distress as he talks.

Some of his observational humor can be piquant—for instance, his idea that the term “straight gym” is oxymoronic—that “the gay” will emerge in any setting where iron is pumped. And he shows a knack for topsy-turvy absurdities—as when he rants against “spiritual” people, imagining the baser natures of such saintly celebs as the Dalai Lama and Mother Teresa. Toward the end of the performance I witnessed, things turned somewhat dark, even morbid, with Sarfaty presenting a spiel on the stages of grief and describing a novel way to euthanize a goldfish. But, somehow, none of this made his act a downer.

Sarfaty has a friendly demeanor, but he could benefit from additional give-and-take with the audience. It’s a pleasure when he is able to pull himself away from his prepared material and just share with his listeners. Certainly, comedians find it necessary to sculpt and polish the syntax of their gags in order to ensure that they’ll land just right. And Sarfaty, who is also the author of a book of essays, is likely especially invested in this sort of wordsmithery. But occasionally the gags come out of his mouth in a somewhat stilted, over-scripted way, missing the looseness of ordinary speech.

Frank Liotti was Sarfaty’s unbilled opening act on the night I saw this show. Like Sarfaty, he is a gay guy from Commack. But otherwise the two comics are not much alike—though Liotti does emphasize his Italian-American background, much as Sarfaty highlights his Jewishness.

Boisterous and unpredictable, Liotti has a tendency to go off script to such an extent that you begin to wonder if a script even exists. He is clearly a proponent of “crowd work”—extensive interaction with the audience (specifically, individual members of the audience) in a highly improvisatory way. This brings whiffs of dangerousness to his performance, especially if you’re an attendee who doesn’t wish to be singled out. Indeed, I contemplated what it would be like to duck under the table as the unrelenting Liotti scanned each corner of the room for a new target. But despite this brusque intrusiveness, he is an effective performer and not a mean-spirited one. He’s smart and quick on his feet—and he seems to have something pungent to say about just about everything.

“Playing in Traffic”
Metropolitan Room  –  August 30, September 19, October 18, November 29


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About the Author

Mark Dundas Wood is an arts/entertainment journalist and dramaturg. He began writing reviews for BistroAwards.com in 2011. More recently he has contributed "Cabaret Setlist" articles about cabaret repertoire. Other reviews and articles have appeared in theaterscene.net and clydefitchreport.com, as well as in American Theatre and Back Stage. As a dramaturg, he has worked with New Professional Theatre and the New York Musical Theatre Festival. He is currently literary manager for Broad Horizons Theatre Company.