Review: THE UNDERSTUDY, Canal Café Theatre

Directed by Russell Lucas and brilliantly presented in the round in a room that isn't really designed for a production as such, The Understudy sees a tremendous UK premiere as part of Canal Café Theatre's American Season.

In the Broadway production of a long-lost Kafka play, the main character is interpreted by an unreliable unseen Hollywood star, Bruce. His understudy is Jake (Leonard Sillevis), a lesser presence in Hollywood's star system (but a presence nonetheless).

Jake's understudy, in turn, happens to be stage manager Roxanne's (EmMA Taylor) ex-fiancé, Harry (Samuel John), who left her two weeks before their wedding. The trio is preparing for the eventuality of Bruce's possible departure from the show.

The palpable chemistry among the three actors is vivid from the very start of their interactions, and their charisma shines through the twists and turns of Theresa Rebeck's dialogues, which are never obvious. The story offers clever insight into performing, the business that surrounds the craft, relationships, life as an artist, and the humanity of acting.

Harry and Jake's love-hate/respect-despise relationship grows and grows, while Roxanne's role as a not-neutral-at-all referee plays a huge part in the story. Her tirade about women and their lack of roles in any media is as relevant as it could be in today's arid landscape, and her attitude towards this balances out her approach towards Harry and everything he represents in her life: she's still hurt and isn't afraid to show it, even though it's unprofessional of her.

Deeply interesting also is the stance the play has towards stars and the hold they have on the business. The Understudy finds fertile ground in members of the theatre community, and it definitely has the power to open the eyes of those who live their lives away from it. The insights into the theatre (and film) world are numerous, and many an exchange is dedicated to what it means to be an actor and the battle between talent and craft versus visibility and big names.

Sillevis and John's performances are multifaceted and interwoven, and the breakdown of their characters undoubtedly comes from a personal place. The reflections on their craft and ups and downs of an actor's life are heartfelt and earnest, and their delivery is profound and genuine.

A central role in Lucas's production is the remarkable lighting design, curated by Stuart Glover and personified in the play by the unseen character of Laura. A stoner and totally unreliable - in the words of Roxanne - she is the reason for many a funny moment, and also the one who at times pushes the story forward.

The venue itself plays an integral part in the production, reminding the audience of another unseen character in the play: the public. The success of the two main characters (and of every actor and show ever produced) is up to the people who go see their work, and therefore the crowd should be part of the drama.

Part rant against the entertainment industry and its unfairness and ruthlessness, part love letter to theatre and the sixth art, The Understudy couldn't have had a more appropriate UK premiere than in a tiny fringe theatre on top of a pub.

The Understudy at Canal Cafe Theatre until 28 February

Photo credit: Simon Annand

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