‘King Kirby’ @ American Chronicle Theatre Co.

Photos by Kris Ikejiti; graphic by Sarah Voecks; art contributions by J Schuh, Doak Rapp—and Jack Kirby

—Jan Farrington

Jazz is often cited as the most original, authentic “American” art form. But here’s a thought: what if the All-American comic book gives jazz a run for its money?

The American Chronicle Theatre Company—who in 2024 presented Joseph Vitale’s biographical Murrow in a tucked-away space in the Winspear—continues its interest in the threads of American life with its regional premiere of King Kirby, a quick-moving bio-play about the genius (and struggles) of comics artist Jack “King of Comics” Kirby, who created most of the characters and magic of the Marvel Universe back in the 1940s through the mid-century. (Think Captain America, Thor, Iron Man, The Fantastic Four, et al.)

And when I say the play moves, it moves, to the fast and unpredictable rhythms of jazz—or, more pertinently, to the zig-zag, top-speed way we read a double-page spread in a comic book, eyes darting here and there, frames read in random order as we take in the minimalist dialogue inside balloons over characters’ heads. Rat-a-tat, got it…and turn the page quick.

The play, an early collaboration by playwright Crystal Skillman (her Open ran at Echo Theatre only weeks ago) with Fred Van Lente, is at Plano’s Cox Playhouse through July 12, and it ought to pull in comic-con fans like a tractor beam. Directed by Doak Rapp and produced by nationally-known Bren Rapp, it stars the stalwart Captain-America-type Jon Garrard as Kirby (moving away from his streak of Shakespeare roles to chomp a cigar and maintain a credible outer-boroughs accent) and the slightly madcap David Allen Norton as his pushy and irrepressible cohort, the legendary (in his own mind?) Stan Lee.

Because this is Kirby’s story, the play pulls from his view of the decades-long “frenemies” relationship he had with Lee, a relentless self-promoter and hogger of glory. Fair? Perhaps not entirely, but there seems to be a lot of truth in this take on their mixed-bag relationship. Kirby is a family man, with a smart, lively wife Roz (Nadia Dewolf), always eager to dive in and help, and he’s more cautious than Lee about taking professional risks (kids, food, rent—y’know?). Both men serve in WWII—Jack in combat at the front, where the raging emotions of battle that keeps him going (and that fade away to “just me” when the fight is done) seem a clear origin for his Incredible Hulk character.

Norton’s Lee is irritating but comical as he works the angles, tootles on a shrill recorder (remember grade school?), pushes himself to the head of the line, and seldom acknowledges his debt to Jack’s amazing artistic talents. With slicked-down hair and Snidely Whiplash moustache, he’s a semi-villain (or is he just that sure he’s the Greatest?) who makes us laugh, though at times we’d like to stick a foot out and watch him fall on his face.

Anthony Spurgin plays Joe Simon, Kirby’s longtime partner—and a much more solid citizen then the self-involved Lee. He has a nice, straight-arrow vibe that rings true for the time period. Natalia Borja and Nadia Dewolf almost constantly appear onstage, in voice-overs, or as silhouettes framed in the angled, comic-book-style “pages” onstage. They whiz in and out as old-time comic book publishers (at least one is Stan Lee’s uncle), sexy secretaries, New York characters, even General Patton scaring the pants off the troups at the front. Both the speed and the distinct characterizations are impressive.

So are Conor Clark’s set (a drawing desk for Jack, big screens to draw us into the comic-book world) and Braden Chavers lighting, which focuses deftly on the character(s) to watch, and shine a halo around Jack’s chalk sketches on the stage floor—reflected on large wall screens as finished drawings. Kudos to artistic teamwork by Doak Rapp, J Schuh, and some by Kirby himself that fill out the background drawings and character silhouettes—all evocatively in the style of the vintage comics of the mid-20th century.

American Chronicle Theater Company, headed by executive producer Bren Rapp, intends to keep exploring interesting corners and personalities of the modern American past. If you’d like to know more about ACTC and King Kirby’s impressive cast, whose stage skills have been at work in North Texas and around the U.S., click on the detailed program here: americanchronicletheatreco.com/kingkirbyplaybill

WHEN: July 4-12, 2025
WHERE: Cox Playhouse, 1517 H Avenue, Plano TX
WEB: americanchronicletheatreco.com