Reviewed by Judy Richter
Anyone who has ever doubted that
show business is indeed a business needs to see "The Understudy," in which playwright Theresa
Rebeck reveals
some of the machinations that occur behind the scenes and the way that money is
the bottom line.
Annie
Smart's set
design for the San Jose Repertory Theatre production immediately establishes the venue with
a proscenium plus a fire curtain, ghost light on one side and a table and chair
on the other. Later the curtain rises to reveal the revolving set for a play.
The
premise is this: An actor, Harry (Gabriel Marin), has been hired as an
understudy to Jake (Craig Marker) in an ongoing Broadway production of a newly discovered
script by Franz Kafka. Though often unemployed, Harry considers himself a
"real" actor and thinks that Jake is a lesser artist because Jake is
a movie actor who has mainly been cast in action thrillers that don't require
"real" acting. As Harry puts it, Jake's main line is "Get in the
truck!"
Harry
reports for a rehearsal with Jake, who's also the standby for the show's star,
a big name movie actor. The stage manager, Roxanne (Jessica Wortham), is to supervise them. To say
that the rehearsal doesn't go well is an understatement.
Harry
and Roxanne were engaged six years ago, but Harry took off with no warning or
explanation, leaving Roxanne hurt and angry. Then Harry tries to reinterpret
some lines, which is contrary to a policy that once a show is up and running,
everyone sticks to what the director wanted. One of the stage manager's duties
is to make sure the director's vision is maintained.
Then
there's a problem with the unseen, recalcitrant, stoned woman in the control
booth, She either fails to do as she's told or does the wrong thing. In the
meantime, Jake takes calls from his agent, who's trying to get him a big part
in another movie.
All
of this unfurls in about 100 minutes without intermission. Much of it had the
audience laughing a lot, but there are some flaws. One is that the playwright
and director Amy Glazer give Roxanne a relatively narrow emotional range that goes from
uptight to angry to hysterical. Marin's Harry comes across as a bit of a mensch
and probably a heel for his past treatment of Roxanne. Consequently, Marker
makes Jake the most likable character. Sure, Jake's not the brightest or
greatest actor, but he seems genuine because of the way Marker connects with
the other two actors and the way he deals with Jake's hopes and
disappointments.
The
script has some obvious devices, mainly when one character or another happens
to go backstage, leaving the other two to converse. Of course, the person who's
backstage hears everything because the loudspeakers are on.
Besides
Smart's set, the production is enhanced by Fumiko Bielefeldt's costumes, Daniel Meeker's lighting and Steve
Schoenbeck's
sound. Dave Meier served
as fight coordinator, while Amanda Folena was the movement consultant.
The
latter's expertise is seen at the end, when the three characters join in a
graceful dance that helps to relieve the tensions they have experienced.