Performances are Fun, but the Plot Needs a Few Pages of RealityBy Lauren Yarger
If a long-lost, three-hour masterpiece of confusion by Franz Kafka were discovered, how could you make it a commercial success on Broadway? Just cast two hot Hollywood stars.
That scenario, not far from the reality of this season’s Hollywood-star-driven productions on the Great White Way, is the basis for Theresa Rebeck’s play The Understudy, presented Off-Broadway by the Roundabout Theater, and while it loses touch with reality in a few places, it is entertaining if you’re in the theater business. If you’re not, just enjoy the performances.
Justin Kirk is Harry, a down-on-his-luck actor who has been cast as understudy to one of the Kafka play’s stars, Jake (Mark-Paul Gosselaar), whose most recent film earned him millions for delivering riveting lines like, “Get in the truck!” amidst a lot of explosions and action-packed plot. Harry’s a little jealous of that. OK, he’s a lot jealous of that, especially since he had tried out for the action movie part and didn’t get it.
He did land this understudy part, but there probably is no chance Harry will ever get to go on, unless Jake, who also understudies the play’s other Hollywood star whose movies gross even more than Jake’s, has to go on for him. The truth is that if either of the film stars can’t go on, the theater audience probably will walk out and demand refunds.
He and Jake butt heads during a put-in rehearsal where the understudies runs through their scenes on stage. The process is made more difficult when the harried stage manager, Roxanne (Julie White) turns out to be "harried" in more ways than one: he's her ex who left without explanation two weeks before their wedding.
Trying to put her personal feelings aside and deal with things like a pot-smoking techie (an unseen character named Laura) who keeps bringing up the wrong lighting and sound cues while moving the wrong set pieces onto the stage (the at-night stage set and the accompanying sets for the Kafka play are designed by Alexander Dodge), Roxanne tries to appease big-star Jake while keeping the “let’s-try-it-another-way” Harry on book.
White is a lot of fun playing the range from neurotic stage manager to broken-hearted bride. She is the epitome of frustration, offering body language, facial expressions and changing tones of screaming to try to get through the rehearsal (if you’ve ever been in charge of a rehearsal like this, believe me, you feel her pain).
Kirk, who ironically sounds a lot like a big movie star, namely his voice reminded me of Tom Hanks, has a comparable talent for timing delivery and makes the most of his lines. He had me laughing out loud when he tried to hit his mark in the light while uttering a Kafkaesque line about the light being lost. A scene with Gosselaar involving some hand slapping and paper stamping is almost slapstick.
Both White’s and Kirk’s performances can go over the top, however, and should have been reined in by director Scott Ellis.
Gosselaar gives Jake depth, so we believe that the pretty-faced and attractively built star, whose physique is showcased in jeans and a T-shirt by costume designer Tom Broecker, reveres the horrible-sounding Kafka piece because he wants to do something deeper than “get in the truck!”
The play’s biggest weakness, however, is its plot, which Rebeck hinges on implausible coincidences to make it easy to write: Harry just happens to be Roxanne’s ex and she doesn’t realize this until he arrives because he had changed his name (but he, when told to report for this rehearsal doesn’t recognize her name?); would a Hollywood star of Jake’s caliber also be understudy to the other Hollywood star in the show (not likely, but this justifies Jake’s being at the rehearsal); how many times can the characters go off in search of props or to use the bathroom only for those left behind on stage to discover that their revealing conversations or actions have been overheard by the other on the theater’s intercom system which for some reason is on for the rehearsal (a lot of times, apparently); would a pot-smoking techie who can’t do her job really remain employed (and while Roxanne is up in the booth fixing Laura’s mistakes, why doesn’t she switch off that darn intercom?)
Overall, The Understudy isn’t as deep as Kafka, but thankfully it can be an entertaining time at the theater.
The Understudy runs through Jan. 17 at the Laura Pels Theatre, 111 W. 46th St., NYC. Tickets are available by calling 212-719-1300. For a special group discount for our readers, click here and be sure to indicate that the religious organization you wish to support is Masterwork Productions.
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