Philadelphia Weekly

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Douglas Carter Beane’s The Little Dog Laughed is a gem of a play. Unfortunately Flashpoint Theatre Company’s misguided production rarely does Beane’s biting satire justice.


A savage attack on Hollywood’s version of “Don’t Ask, Don’t Tell,” the story focuses on a young film actor named Mitchell (Matt Lorenz) who—according to his savvy lesbian agent Diane (a feisty Karen Getz)—suffers from a “slight reoccurring case of homosexuality.” Mitchell insists his gay experience has been limited to fantasies and the usual adolescent explorations in Boy Scout camp. However, when Mitchell falls in love with a male escort named Alex (Sean Thompson) he’s no longer able to deny his sexual identity. 


Sadly, Mitchell is not thrilled with his new status. Alex is cute, sweet, funny and smart, but what’s a boyfriend when movie stardom beckons? And as Diane repeatedly reminds him, no one in Hollywood hires a queer leading man.


The plot thickens when Diane negotiates the film rights to the hottest play in New York. It’s the perfect role for Mitchell, and Diane’s certain the lead role will make him a star. But there’s a catch—the character is gay, which is okay with Diane as long as her client’s sexual preference remains a secret.


This isn’t the first time a playwright has explored the emotional, professional and psychological effects of staying in the closet. What makes Dog so appealing is Beane’s ability to capture the mindset of a film industry where homosexuality remains taboo.


Diane counsels Mitchell that in Hollywood straight actors are celebrated for portraying sympathetic gay characters (see Brokeback Mountain , see Milk ), while a gay actor playing a heroic homosexual is viewed as bragging. 


Unfortunately Flashpoint’s production is more of a sentimental gay romance than a satirical attack on Hollywood hypocrisy. This is especially apparent in director Meghann Williams’ handling of the play’s male characters. Lorenz and Thompson are likeable actors, but under Williams’ restrained direction, their characters are so dull and ordinary they’re rendered almost lifeless. 


Thankfully the female characters fare better. Karen Getz is sensational as the happily immoral Diane and when she appears, the production is given a much-needed lift. 


The same can be said for the performance of recent University of the Arts graduate Aime Kelly who makes a strong impression as Alex’s sassy ex-girlfriend Ellen.


Beane’s rapid-fire dialogue and wicked sense of humor makes the show worth a visit, but Flashpoint’s tame production leaves this Dog with little bite.■

The Little Dog Laughed. Through May 30. $15-$18. Second Stage at the Adrienne, 2030 Sansom St. 215.665.9720. 
flashpointtheatre.org

Footlights

In the Red and Brown Water

The McCarter Theatre is mounting what may be the year’s most creative new work with their staging of Tarell Alvin McCraney’s In the Red and Brown Water, the first play in McCraney’s Brother/Sister trilogy.

Set in a mythical urban housing project, the story (a coming-of-age tale about a young girl named Oya) echoes the plays of Shakespeare, Sophocles, and August Wilson. Yet while Water has many dramatic forefathers, it’s also an amazingly original work. The play is so unique it takes awhile for us to grasp the rules McCraney is playing by.

Although the play’s structure is uniquely innovative, the diverse African-American characters populating the housing project seem intimately familiar—so much so that we relate to them on a personal level and become deeply involved in their stories. Instead of passive onlookers, the audience is actively involved in the proceedings.