| 1 |
Review by: MisterOpinion, Feb 1, 2006 |
See it if you can. It might be extended past its scheduled February 26 closing date, but I wouldn’t risk it. Go now.
The heart of the story is Diane, a very powerful, very capable Hollywood agent, played with delicious expertise by Julie White. Nothing gets past Diane. She knows every twist and turn of the road. Which is a good thing, considering the speed she travels it and the unsavory motives of her fellow motorists. Diane is ... read more pragmatic, no-nonsense and incredibly blunt. At one point, another character asks her to give her word on something. With only the slightest touch of sarcasm she consents: “I give you my word as an entertainment industry professional.”
Diane’s client of the moment is Mitchell, a movie star to be; that is, if he can keep his homosexuality under wraps. Problem is, Mitchell hasn’t even accepted his sexuality himself – but the fact that he’s falling in love with the rent boy he hired just might bring it to his attention. Problem is, it might also bring it to the attention of the movie-going public, who like their stars straight or deeply in the closet, at least if the star hopes to ever have a franchise to call his own.
The show is sharp and biting from start to finish. Playwright Douglas Carter Beane has obviously spent some time around the Hollywood crowd – how else can one explain his acid description (through Diane) of players using the ordering of salads as a power game? There are dozens of laugh out loud lines. One of my favorites was when Mitchell and his boy toy are discussing first times and find out it happened for Mitchell in the Boy Scouts. “I hear that a lot,” the rent boy says. “Yes,” Mitchell replies, “the merit badge that dare not speak its name.”
The story moves forward rapidly, continues to surprise well into the second act, and supports a theme that once again addresses the concept of interesting stuff happening at the edges of things. In this case, it’s the border between celebrity and ordinariness. What is Mitchell willing to give up to be ordinary, to be able to love whomever he chooses? What will he give up to be a star? What morals must Diane compromise to continue working in the upper echelons of the Hollywood power pyramid? What lies do we have to tell our ids so our egos can get what they want? It’s rich territory, and “The Little Dog Laughed” explores it quite ably.
I’d quibble with the casting (neither of the men were entirely believable, either as movie star or rent boy), but other than that, my favorite show of the trip. |
|
|
|