Review: ‘Safe at Home: An Evening With Orson Bean’ is a local treasure waiting for you to discover it
It’s no secret that Orson Bean, an actor who won fame as a “TV personality,” is a master raconteur. No one appears on “The Tonight Show” as many times as he has without talking a good game.
But it might surprise you to discover that the 87-year-old Boston-bred performer, a regular Yankee Doodle Dandy whose family tree includes President Calvin Coolidge, has a Henny Youngman way with a joke.
At several points in “Safe at Home: An Evening With Orson Bean,” the gem of a solo show that has returned to Pacific Resident Theatre in Venice after its premiere last fall, it seemed as though Bean were about to incongruously break out into Yiddish.
The cultural appropriation initially seemed odd. But as some of the funniest shtick is vaudevillian shtick with a Jewish flavor, it only makes sense that Bean, a theatrical magpie with a long history in showbiz, would borrow from the best wherever he encountered it.
Los Angeles Times photographers document the year in arts and culture.(Los Angeles Times)
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Branden Jacobs-Jenkins leaves a rehearsal of his play “Appropriate,” opening Oct. 4 at the Mark Taper Forum, to eat first with a reporter, then later with his agent and some unspecified Hollywood people, who presumably hope to lure him away from the field and city where he has experienced meteoric success in the last five years. Read more >>(Al Seib / Los Angeles Times)
Kerstin Anderson takes charge of Maria von Trapp with a spirit so joyful, a physicality so lithe and coltish, and a soprano so flawlessly soaring that only Frau Schraeder, Capt. Von Trapp’s jilted fiancée (Teri Hansen), could possibly resist her charm. Read the Oct. 1 review >>(Los Angeles Times)
Soprano Abigail Fischer performs Oct. 7 in the opera “Songs from the Uproar” at REDCAT in Los Angeles.(Lawrence K. Ho / Los Angeles Times)
Moisés Kaufman’s muscular revival of “Bent,” which played at the Mark Taper Forum, opening on July 26, renders what many had written off as a parochial drama about the persecution of homosexuals in Nazi Germany into a gripping tale of love, courage and identity. Read review >>(Luis Sinco / Los Angeles Times)
Malaviki Sarukkai performing at the Broad Stage in Santa Monica on July 19, 2015. Sarukkai is the best-known exponent of South Indian classical dance.(Lawrence K. Ho / Los Angeles Times)
Bramwell Tovey conducts the L.A. Phil with pianist Garrick Ohlsson in Rachmaninoff’s Piano Concerto No. 3 at the Hollywood Bowl on July 14, 2015.(Lawrence K. Ho / Los Angeles Times)
Argentine dancer Herman Cornejo performs in the West Coast premiere of “Tango y Yo” as part of the Latin portion of BalletNow.(Michael Robinson Chavez / Los Angeles Times)
Jake Shears plays Greta in Martin Sherman’s play “Bent” at the Mark Taper Forum in Los Angeles through Aug. 23, 2015.(Luis Sinco / Los Angeles Times)
Dancers rehearse a one-night-only performance choregraphed by Raiford Rogers, one of L.A.'s most-noted choreographers. This year the dance will be to a new original score by Czech composer Zbynek Mateju.(Luis Sinco / Los Angeles Times)
Oscar-winning actor Ben Kingsley in Los Angeles on July 9, 2015.(Al Seib / Los Angeles Times)
Mia Sinclair Jenness, left, Mabel Tyler and Gabby Gutierrez alternate playing the title role in the musical adaptation of Roald Dahl’s “Matilda” at the Ahmanson Theatre. The three are shown during a day at Santa Monica Pier on June 16, 2015.(Christina House / For The Times)
American Contemporary Ballet Company members Zsolt Banki and Cleo Magill perform a dance routine originally done by Fred Astaire and Ginger Rogers. This performance was presented as part of “Music + Dance: L.A.” on Friday, June 19, 2015.(Luis Sinco / Los Angeles Times)
Miguel, a Grammy-winning guitarist, producer, singer and lyricist, is photographed in San Pedro on Wednesday, June 10, 2015. His new album “Wildheart,” explores L.A.'s “weird mix of hope and desperation.”(Christina House / For The Times)
Los Angeles-born artist Mark Bradford is photographed in front of “The Next Hot Line.” This piece is part of his show “Scorched Earth,” installed at the Hammer Museum in Westwood, June 11, 2015.(Jay L. Clendenin / Los Angeles Times)
The Los Angeles Opera concluded its season with “The Marriage of Figaro,” with Roberto Tagliavini as Figaro and Pretty Yende as Susanna, at the Dorothy Chandler Pavilion.(Lawrence K. Ho / Los Angeles Times)
“Trinket,” a monumental installation by Newark-born, Chicago-based artist William Pope.L, features an American flag that is 16 feet tall and 45 feet long. The work is on display at the Geffen Contemporary at MOCA through June 28.(Luis Sinco / Los Angeles Times)
Alex Knox, from left, Carolyn Ratteray, Lynn Milgrim and Paige Lindsey White in “Pygmalion” in spring 2015 at the Pasadena Playhouse.(Mariah Tauger / For The Times)
On March 17, Google celebrated the addition of more than 5,000 images to its Google Street Art project with a launch party at the Container Yard in downtown Los Angeles.(Michael Robinson Chavez / Los Angeles Times)
Ric Salinas, left, Herbert Siguenza and Richard Montoya, of the three-man Latino theater group Culture Clash, brought their “Chavez Ravine: An L.A. Revival” to the Kirk Douglas Theatre to mark the group’s 30th anniversary. The play ran from Feb. 4 through March 1.(Genaro Molina / Los Angeles Times)
Dressed like a dapper professor emeritus from Harvard in beige slacks and a sweater, Bean takes the audience on an autobiographical stroll of his life. His anecdotes are vivid, well chosen and crisply told. A natural performer who delights in enthralling a paying crowd, he has a twinkling manner, but his material is streaked with sadness.
His childhood was no picnic. Raised by an alcoholic mother who fell apart after his father left home, Bean (born Dallas Burrows) recounts what it was like growing up in a cramped apartment in Cambridge during the Depression with volatile parents whose lovemaking was as loud as their screaming fights.
The tale of what happened to his beloved dog is heartbreaking, but the real tragedy revolves around his mother, whose fits of jealousy and constant nursing of sherry had tragic consequences. Bean survived by building a wall around himself and developing a set of entrepreneurial skills that allowed him to make an early break from his mother’s boozy embraces.
Some autobiographical solo shows are a pity party. Not Bean’s. A canny veteran, he knows how to break the somber mood with a hoary one-liner, a silly magic trick or a non sequitur (such as the out-of-nowhere announcement that his shoes are made in Vietnam). To keep theatergoers on their toes, he occasionally asks a member of the audience to assist him with a card trick or comic routine.
A go-getter with a hustler’s energy, Bean would no doubt have reached great heights as a politician or owner of used car dealerships. But his earliest positive feedback came from amusing others.
He mesmerized the neighborhood kids with his magic act. After the Army, he tested his legerdemain on the professional circuit before switching to stand-up comedy, which opened the doors to “The Ed Sullivan Show” and Broadway.
Eventually, he found his true calling: all-around entertainer. But the trials and tribulations of his early life dogged him. Loneliness in New York after a divorce propelled him to move to L.A. to be near his kids. But don’t get the story secondhand from me. No one can tell it like Bean, whose sense of what works onstage has been honed by decades of experience.
“Safe at Home,” a small local treasure performed a stone’s throw from Bean’s house on the Venice Canals, finds the old master in vintage form.
‘Safe at Home: An Evening With Orson Bean’
Where: Pacific Resident Theatre, 703 Venice Blvd., Venice
When: 8 p.m. Fridays and Saturdays, 3 p.m. Sundays. Ends March 13.
Info: (310) 822-8392 or www.pacificresidenttheatre.com
Runnning time: 1 hour, 25 minutes
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