Review by Neal Newman
September 11, 2002
THE UNDERSTUDY by Theresa Rebeck (2007) is skillfully revived by the Montgomery Theater. Rebeck, whose works include Broadway’s MAURITUS, the TV series SMASH, and the fierce memoir FIRE FREE ZONE, has a tasty bone to pick with theater people. THE UNDERSTUDY is a no-holds-barred satire on this bizarre culture.
The plot is simple. Roxanne, the stage manager (Vanessa Sterling), a multi-tattooed gamine with the physicality of a superhero, is failing to conduct a rehearsal for a new understudy in a hit Broadway production of a play by Kafka. That’s right, Kafka. The understudy Harry (James Ofalt) wants to play the part his way rather than following the promptbook of the opening night. The costar, Jake (Matteo Scammell), is more concerned with a possible action movie lead than the rehearsal. Scammell could certainly have a career in action films. From these archetypes spring forth wit. Here are just a few thematic morsels:
BROADWAY NEEDS MOVIE STARS. Jake banks 2.7 million dollars per film but is upset that his unseen costar earns 20 plus million per film. Nobody respects the play, but it is a way to gain respectability between movies.
ACTORS ARE NOT CAST FOR TALENT. The understudy gets the part because he knows the producer’s wife’s hairdresser. The assistant stage manager who keeps the lighting booth like “the inside of a bong,” is a nepotistic hire. The stage manager is a frustrated actress who is reduced to babysitting film star egos.
MEN DON’T WRITE ROLES FOR WOMEN. The Kafka play, which seems loosely inspired by THE CASTLE or THE TRIAL, has only roles for 15 men. Ditto Shakespeare for the most part.
THEATER FOLKS ARE A DUPLICITOUS BUNCH. The understudy feels that Jake has no talent, a thought shared by Jake about his costar. The stage manager finally screams I HATE KAFKA.
These examples are merely the tip of the iceberg. The 90-minute intermissionless evening is probably best enjoyed by the practitioners themselves. The audience was filled with such people who laughed constantly. Even totally “inside” jokes such as “mercury poisoning” rated a great response.
The settings by Meghan Jones are inventive, and though the stage is tiny, it still gives the feeling of a complex Broadway production going awry. The lighting by Jim Leitner includes many humorous mistakes, while Felix Pinschey’s costumes define the characters perfectly.
The direction by Tom Quinn and the actor’s performances are unsubtle and seem designed for a larger 500-seat theater. As such, this audience member enjoyed the quieter moments the most. Don’t eat the props.
The Montgomery Theater, 124 N Main Street, Souderton, PA. Tickets are available at 215-7239984-ext. 10 or online at www.montgomerytheater.org. Masks are required.