He shticks to familial humor

No, but as comedian Steve Solomon admits, it attracts a different crowd.

“My Mother’s Italian, My Father’s Jewish & I’m in Therapy!,’’ playing at the Cutler Majestic Theatre through Aug. 2, is an evening of gentle jokes that turn out to be less about one man’s life story and more of a series of clichéd comic stereotypes. As a theatrical piece, “My Mother’s Italian. . .’’ is more in line with Jackie Mason’s Broadway stand-up routines than the anecdotal stories of Billy Crystal’s “700 Sundays’’ or Rob Becker’s explanation of the battle of the sexes in “Defending the Caveman.’’

Solomon gives his one-man show a linear shape by talking about members of his family throughout his life, but there is no overarching story line and not much insight. His family simply provides him with the opportunity to display his considerable skill creating characters with distinctive voices and sound effects.

Dressed in jeans, a buttoned-down shirt, and a blazer, Solomon looks like a classic baby boomer, and his humor is aimed directly at that crowd, including an anecdote about his attendance at Woodstock. His autobiographical references are all about aging parents and their hearing aids, the challenges of raising adolescents, marriage and divorce, and the difficulty of keeping a kosher kitchen when half the family is Italian.

As a comedian, Solomon doesn’t have an edge or an ax to grind, despite the “I’m in Therapy’’ part of his show’s title. He says several times that his family drove him crazy, but we never get the sense he dislikes or even resents any of them, and they are reduced to colorful caricatures.

There’s his grandmother, who misunderstands his questions and stories (“What are ‘genitals?’ ’’ “They’re people who are not Jewish’’); his father, a Russian Jew who now lives in a gated community in Florida (“I call your mother sweetie because about two years ago, I forgot her name’’); his not-so-bright Italian Uncle Paulie; and his cousin Kenny, a guy who, when he drops his pen, hits his head on the table on the way down and on the way back up.

Solomon uses his set pieces - two wingback chairs, a desk, and a piano - to orient the audience for certain jokes. The piano offers an opportunity for Solomon to show off his skill and frame a sentimental moment when his grandmother dies, but because he never really allowed the audience to get to know her, the moment falls flat.

Solomon’s writing is clearly inspired by the classic comics he admires, and his jokes are familiar. Watching him perform, it’s easy to make the connection to Bob Newhart, Crystal, Buddy Hackett, and George Carlin. But Solomon himself gets lost in his affection for other comics’ work. Despite the autobiographical nature of the show, he never reveals anything very personal. There are a few anecdotes about his early career as a school administrator and his late-night “blue’’ stand-up gigs on cruise ships, but just when we start to get a glimpse of the man behind the funny sound effects, Solomon backs away and returns to the tried-and-true borscht belt humor.

“My Mother’s Italian, My Father’s Jewish & I’m in Therapy!’’ has some funny jokes, but there’s nothing here that feels original.