Aerobics Injury Puts Lily, ‘Life’ on Hold; Berkoff’s ‘Kvetch’ to Test the New York Jinx

Lily Tomlin pulled a leg muscle during “The Search for Signs of Intelligent Life in the Universe” on Tuesday. The show ended prematurely, and performances were canceled at the Doolittle Theatre for Wednesday, tonight and possibly Friday.

It’s turning into an eventful week for Tomlin, who accepted a California Theatre Award at a ceremony Monday. One night later, the injury occurred as Tomlin, playing the character of Chrissy, began an aerobics routine.

After retreating to her dressing room, Tomlin returned to the stage with an ice pack and held an informal conversation with the audience, covering such subjects as whether she should perform in the movie “Big Business.” She also performed a couple of vintage monologues as Ernestine, the telephone operator, and Lupe, the world’s oldest beauty expert; when she forgot a few lines, the audience prompted her.

Ticket holders who need a refund for the canceled performances (or for Tuesday’s aborted one) may mail the tickets (or the Tuesday stubs) to the Doolittle Theatre box office, 1615 N. Vine St., Hollywood, 90028. Include a return address.

Performances are scheduled through March 1. Exchanges for later dates are best transacted at the box office or the Ticketron point of purchase--or by mail. For more information, call the Doolittle box office at (213) 462-6666. And let’s suggest that Chrissy switch to low-impact aerobics.

Once again, it’s time to test the dreaded New York Jinx.

Those who believe in the Jinx--which supposedly wreaks havoc on any Los Angeles stage success that dares to venture into Manhattan--usually cite Steven Berkoff’s “Greek” as one of its primary victims. The object of adulation and awards during its long run at the Matrix in 1982, “Greek” was skewered by the New York critics when it opened there in 1983.

Berkoff has finally returned to the scene of the skewering. “Kvetch,” his hit at the Odyssey, will open at New York’s Westside Arts Theatre on Wednesday.

Mayfair Theatre managing producer Gerry Roberts, who’s co-producing “Kvetch” in New York, scoffs at the idea that New York critics are prejudiced against Los Angeles. In fact, he shared their opinion of “Greek”: “I hated it. It’s a matter of taste. I just can’t see any critic rapping a play (only) because it’s from L.A.”

Consequently, Roberts isn’t trying to conceal the birthplace of “Kvetch.” His press releases and programs note the play’s origin at the Odyssey. “We’re not flaunting it,” he said, “but in no way are we hiding it.”

Just in case New Yorkers miss the point, Odyssey artistic director Ron Sossi plans to send them his own press release. It will point out that “Kvetch” is coming from the same theater that turned out “Tracers,” one of the few shows that successfully made the coast-to-coast leap.

The Odyssey retains a small percentage of the New York gross from “Kvetch,” but none of the profits. Sossi attributes this to a “misunderstanding” between himself and Berkoff. “We’re negotiating now on (Berkoff’s) ‘Acapulco.’ We don’t want to do it without the New York rights,” Sossi said.

Three of the five actors in the original Los Angeles “Kvetch”--Kurt Fuller, Mitch Kreindel and Laura Esterman--will repeat their roles in New York. The text has undergone only minor changes (“a few more lines for the garment manufacturer,” reported Roberts). A big city skyline, resembling New York’s, has been added to the painting of a traffic jam on the back wall of the set.

Roberts won’t say how much money he and his partners have put up, but it’s “sufficient capital to continue five or six weeks,” he said. “If the reviews are mixed, we’ll hang in there and keep fighting.”

Meanwhile, back at the Odyssey, “Kvetch” will celebrate its first anniversary March 15.

Steven Dietz’s “Foolin’ Around With Infinity,” described as “a quirky black comedy about the arms race,” will open in Los Angeles Theatre Center’s Theatre 3 on March 27, substituting for William Mastrosimone’s “Cat’s-Paw.”

LATC artistic director Bill Bushnell, who will stage “Infinity,” cited Mastrosimone’s schedule as the reason for the switch.