This newest incarnation is directed by Amanda Sisk, Diamond’s wife, with whom he has collaborated on a series of political shows under the banner Nero Fiddled. Today, the graphic designer by day and Groucho by night, is starring in a full-fledged off-Broadway production of “I’ll Say She Is” at the Connelly Theatre. That changed in 2014 when Diamond, starring as Groucho (thus becoming only the second actor ever to star in the role in this revue) mounted sold-out and well-received “re-premieres” of “I’ll Say She Is,” first at Marxfest in New York City, and then at the New York International Fringe Festival. But through seven years of painstaking research, the cooperation of surviving family members of the original creators, and the kindness of kindred-spirited strangers, Diamond was able to reconstruct “I’ll Say She Is,” which had not been performed in almost a century. The second is a pristine and unexpurgated print of "Horse Feathers" (this, sadly, eluded Universal’s restoration team). The first is "Humor Risk," the Marx Brothers’ first foray into film, a 1921 silent that one and all deemed unreleasable and is presumed lost. “I’ll Say She Is,” which debuted in 1924, is one of three Marx Brothers holy grails for fans. The subtitle says it all: “The Story of ‘I’ll Say She Is': The Lost Marx Brothers Musical and How It Was Found.” It is both a detective story and one of the great “let’s put on a show” show business sagas But Noah Diamond’s book, “Gimme a Thrill,” is a particularly heroic piece of Marx scholarship.