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"I know a lot of people who say we're crazy, crazy actors. Don’t date an actor, they're crazy. I'm not actually in any position to argue that...It’s great being an actor - when you get to do it - but's it's also incoherent..." says Harry, the understudy of the title, played by Justin Kirk (current Golden Globe nominee for “Weeds” on Showtime, and many Broadway credits).
The Understudy, currently in an open-ended run at Roundabout at The Laura Pels Theatre, is a must see for anyone who has ever acted, thought about being an actor or knows someone who knows someone who is, was, or might become an actor.
Penned by Theresa Rebeck, (
Rounding out the cast is Mark-Paul Gosselaar (“NYPD Blue,” “Saved By The Bell” and the recent “Raising The Bar” on TNT), making his Broadway debut as Jake, a “talent-free” shoot-em-up genre actor, who by shouting lines like, “Get down, get down!” and “Get in the truck!” earned him $2 million in his last film, while the film itself grossed over $67 million at the box office. We now find him cast as the 2nd lead/understudy for the lead actor in this, until now, “undiscovered masterpiece” by Kafka.
There are two more characters whose presence is never shown, but are referred to repeatedly, Bruce, the $22 million/picture mega-star cast in the lead of the Kafka play, and Laura, the stoned girl, who is supposed to run the lights and sound in the booth that “smells like the inside of a bong!”
The three spot-on portrayals really give us the sense that we are in the back of the dark theatre observing an actual understudy rehearsal in progress. We feel the urgency to complete the rehearsal, but understand that the actors have to vent their feelings about each other in order to be able to work with each other.
We are introduced first to Harry, who, eager to make a good impression, has arrived at the rehearsal early. Lamenting Broadway’s penchant for movie star casting, “All I see are movie stars, movie stars, movie stars,” being cast an understudy (to a movie star), but happy to have any job, it might seem sometimes that he is trying too hard and it’s just not worth it. Justin Kirk’s theatre skills shine as he gives us a different side of himself playing Harry not as a slacker, but as a skilled actor who has been there before, lost it and is trying to make a comeback, but wondering if he really cares anymore.
Then comes Jake who yearns to do roles in “real” films, and is waiting for his agent to call with news on his last audition. Jake is finally in a Broadway play (as real-life almost imitates art, The Understudy is Off-Broadway), hoping that the star will be out one day so he can take over the lead and show them what he’s got. Mark-Paul Gosselaar’s performance as Jake, is a well-played compilation of all the young actors of today, who get paid for their looks, and NOT their talent. But here, M-PG shows us that he is not only a pretty-boy TV star in an Off-Broadway play, but has actually begun to master stage acting.
Finally we meet Roxanne, the former actress now stage manager, who is just trying to get through this understudy rehearsal. She is shocked to see Harry, a past paramour in a relationship that didn’t end well, who has been cast as Jake’s understudy. Now she has to deal with past feelings for Harry, Jake’s temper, Harry’s wanting to change the blocking, and Harry and Jake’s pondering the deeper meaning of Kafka’s words and stage directions. Julie White gives another side-splitting, over the top performance, reminiscent of her role in The Little Dog Laughed. What sets this role apart, is the inner level of frustration she shows, because Roxanne really does care for the art and the artist, and is going berserk juggling everyone’s feelings including her own, and this shows in her wonderful performance.
To top it all off, there is Laura who is supposed to be on lights and sound but is always missing, probably off smoking a joint. Even when she is up in the booth, the cues are all wrong. Small wonder Roxanne is on the verge of a nervous breakdown.
As an actor, I was drawn in to this well written and well played comedy, by the drama that makes this job “crazy and incoherent.” We’ve all been there - knowing how to do something, but being told to do it a different way, losing a job to a movie star, and finally being cast, but only as an understudy, who is basically being paid to show up and not go on. Theresa Rebeck’s The Understudy is at the same time funny, sad and meaningful, but ultimately seems to be poking fun at Broadway and at itself, with its own movie star casting.
Behind the scenes, Scott Ellis’ direction is just terrific, using the theatre itself as another character. His staging is manic enough to make us uncomfortable with the situations, but still laugh out loud at them. Alexander Dodge’s sets are spectacular for such a small intimate show; Tom Broecker’ costumes reflect the characters personalities to a “t;” Kenneth Posner’s lighting and Obadiah Eaves’ music and sound reflect perfectly what Laura must be doing up in the booth. Scott Ellis also serves as Associate Artistic Director.
Oh, and I should mention that, although the characters take turns leaving the stage for a few minutes at a time for various reasons, they are mostly on-stage for the entire 90-minute, no intermission, production? Make sure you use the rest room before the show starts.
Scott Ellis, Director; Alexander Dodge, sets; Tom Broecker, costumes; Kenneth Posner, lighting; Obadiah Eaves, music and sound; Scott Ellis, Associate Artistic Director. Presented by the Roundabout Theatre Company, Todd Haimes, Artistic Director; Harold Wolpert, Managing Director; Julia C. Levy, Executive Director. At the Laura Pels Theatre,
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