Bella Bella

B

Harvey Fierstein (La Cage aux Folles, Kinky Boots) has written an affectionate tribute to larger-than-life New York politician Bella Abzug, whose many breakthroughs for women and efforts for the marginalized are not often spoken of today. Set on the night of the 1976 NY Democratic senatorial primary, pitting her against five opponents including Daniel Moynihan, this solo piece at Manhattan Theatre Club's Stage I shows Bella locked in the bathroom of a guest room (not a suite, she complains!) at the Summit Hotel, where she awaits the election results. The bathtub is piled high with campaign signs. On the other side of the door are her family, campaign staff and close friends. Downstairs in the ballroom hundreds are waiting for her to appear. What follows is an entertaining, informative look at highlights of her career and life story. I had thought I was generally familiar with her career, but I learned several things. I didn’t know that she defended a black man accused of raping a white woman in Mississippi. Nor did I know that New York Times publisher Arthur Sulzberger overruled his editorial board and withdrew their Abzug endorsement in the senatorial primary. The material includes lots of enjoyable anecdotes and several very funny one-liners. So far, so good. My problem with the show is Fierstein’s decision to play the role of Bella. It seems ironic that a play about female empowerment casts a man as Bella. From what I have read, several actresses (if one is allowed to use that word these days) turned down the role because of schedule conflicts. The producers were eager to do the show now to get a jump on a forthcoming documentary about Bella. Fierstein (Hairspray, Torch Song Trilogy) wisely does not try to impersonate Abzug. He wears a black shirt and slacks, but no makeup or wig. Only the big red hat he wears at the beginning and end of the play and the nail polish on his toes signal female. Harvey also has a big personality and a rough charm, so his version of Bella essentially works, but I found myself wishing that they had waited for a worthy actress to play the role. The production is first-rate with a set by John Lee Beatty (Doubt, Proof) that surrounds the playing area with the facade of the hotel and performs a clever transformation. Rita Ryack (Casa Valentina) did not have much of a costuming challenge. Kimberly Senior’s (Disgraced), direction is assured, never letting the pace lag. I wish the Playbill had included a few notes on her career and a Yiddish glossary. All in all, it’s an enjoyable production that might have been even better with a different Bella. Running time: 90 minutes; no intermission.