ENTERTAINMENT Actor Joel Grey Talks Of Yiddishkeit And Family MICHAEL ELKIN Special to the Jewish News W hat good is sitting alone in your room, says Joel Grey, when you can come hear the music play. Especially, notes the elfin Cabaret star, when that music is filled with the kib- bitzing and clowning of the late Mickey Katz. Of course, the ever colorful Mr. Grey boasts a certain bias about Mr. Katz, whose tongue-in-cheek tuneful takeoffs of standard hits still hit home some 40 years after they were first recorded. While others called Mickey Katz king of the cut- ups and a musical meshuganer, Joel Grey simp- ly called him "Dad." The award-winning Mr. Grey, whose bio brims with Broadway, film and TV ac- complishments, is consider- ing presenting parts of his past on stage in a national tour. The first half of the pro- gram would be made up of Mr. Grey's extensive Broadway repertoire, in- cluding numbers from Cabaret, George MI and Stop the World, I Want to Get Off. Joel Grey will bring his dad's loony lyrics to life in the second half. The performance is Mr. Grey's way of saying "wilkommen" back to a bonanza of Borscht Belt shtick that still elicits chuckles. Frontiersman Davey Crockett couldn't hold a raccoon cap to the legacy of Mr. Katz' Delancey St. pioneer "Duvid Crockett." And what human being wouldn't be amused by the bouncy "The Baby, the Bub- ba and You"? But it took an outsider to bring Mr. Grey back to the "good ole days" when a pickle was a nickel a shtickel and Borscht Belt broadside hit it right on the nose with every Catskill Tam, Dick and Harry. "About a year ago, I read in the New York Times about this klezmer musician named Don Byron, who was performing some of my dad's music," recalls Mr. Grey. "I knew nothing about the concert or him so I went down to hear Byron play." Michael Elkin is the enter- tainment editor of the Jewish Exponent in Philadelphia. Joel Grey: One of many faces. It was obvious that Mr. Katz' cultural hijinks hadn't played out totally. The New York club was crowded with those who clamored for more and more of Mr. Katz' kib- bitzing. Mr. Grey eventually joined Byron on stage as a guest performer at Michael's Pub. "I realized," says Mr. Grey, "that a lot of people love my father's work." Including Mr. Grey, of course, who claims he "always includes some of Dad's stuff in my act." Shades of his father, Joel Grey is a magna-cum- comedy graduate of the Borscht Belt circuit too, where he entertained with a heimish sense of humor ear- ly on in his career before discovering life could be a Cabaret. In 1967, that much- honored Broadway musical about pre-war Berlin cap- tured critical and commer- cial acclaim for the spritely performer. It also earned him star status: Mr. Grey won a Tony Award and Oscar in the film version for his characterization of the cackling demented master of ceremonies. Today, Joel Grey is ac- knowledged as a master of myriad media. In film, he earned accolades for his role as a mystical Oriental in Remo Williams: The Adven- ture Begins. Mr. Grey graced the Lin- coln Center stage in the 1981 New York City Opera production of Kurt Weill's Silverlake. He directed Anthony Quinn in a 1986 national revival of Zorba, and por- trayed an angel in the con- cluding episode of "Dallas," the long running TV soap saga about urbane cowboys. With a tip of the six-gallon hat to his father's legacy of Yiddishkeit and yuks, Joel Grey feels at home on the range performing Mr. Katz's songs at the Academy. Make that "Haim Afen Range," another recording in the Katz collection. "After the Byron concerts, I started to look at all these lyrics in a 'scholarly' way," recalls Mr. Grey of his father's work. "They have a lot to say about what goes on in America, about what's important to Jews." What -they said then apply now in a society stressing assimilation. "His songs urge people to forget and not worry about being greenhorns," says Mr. Grey. "The message is, 'Have a good time! Enjoy your differ- ences!' " Obviously, Joel Grey feels different about doing his dad's work than he did early in his career. While he per- formed with his father on stage in the "Borscht Belt Capades" while still a youngster, Joel Katz chang- ed his name to Grey to stress a different career. As he told a reporter for the New York Times just when Cabaret was earning bravos on Broadway: "I was some sort of a celebrity at 10 in Cleveland, Ohio. I learned to look for recognition at much too early an age, and I got it at much too early an age." Mr. Grey went on to note that he "left home at 18, changed my name because I wanted to perform, but not in direct competition with my dad." He realized even then that "my ideas about . what I wanted to do might be as valid and important — maybe even more valid and important — than a parent's or an agent's." Certainly, applause is its own validation. And Joel Grey has earned the public's stamp of approval. Not everybody approves of what Mr. Grey is doing in his revival of Mickey Katz's recordings, however. "The only people who have been negative over the idea," notes Mr. Grey, "seem to be those Jews who are uncom- fortable with the richness of Jewish humor." 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