George Axelrod's Will Success Spoil Rock Hunter? gets the star treatment at The American Century Theater in Arlington (2/6).  A stage and later film showcase for the talents of Jayne Mansfield, this gentle send-up of Hollywood and its denizens, hearkens back to a bygone era, by which the shenanigans of today's branded products (i.e., Madonna, Lady Gaga) will seem quaint. Unlike the dark industry portrayals of the past - Sunset Boulevard, The Player, and Barton Fink - the weather here is almost always sunny. 

Sex goddess Rita Marlowe (Kari Ginsburg) is slated to star in the film adaptation of a smash play written by Michael Freeman (John Tweel) entitled "No Hiding Place Down Here." The suggestive story concerns a prostitute and a homosexual á la Breakfast at Tiffany's. The studio, represented by mogul Harry Kaye (Craig Miller), is looking to have it both ways: actively promoting the film for its straight sex appeal, while losing the gay element (the role will morph into a psychiatrist!), and steering clear of the censors.  Enter a bumbling, substitute reporter, George MacCauley (Donald Osborne), for a publicity rag known as Movie World, who's sent to do a piece on the very much uncensored Ms. Marlowe.  He's got one article to his credit (see the title), which he will remind you of, again and again, and another upcoming which will be out of this world.

Hijinks abound as the starlet, tycoon, and playwright frame the story angle for the dimwitted reporter, whose desire simmers beneath his thick-lensed glasses.  Like a bloodhound on a trail, who should appear from the wings but an agent from hell (literally) by the name of Irving LaSalle (Steven Lebens).  For the standard representation fee, but with a twist - 10 percent of his soul, for services rendered, in equal-part increments - he solicits George as a client.  With each bump in the escalation clause, to deliver on money, women, power, talent, fame, and more, the hapless George moves completely under Irving's (or Sneaky's as Rita refers to him) control.

You know where this one is going ...that the play was radically changed for the screen tells you more about the script than it does of Tinseltown.  The second and third acts unfold in a studio office attractively realized in vibrant art deco style (down to a Miro-like bark cloth) by set designer Anndi Daleske.  Pencil-bobbed, Girl Friday Secretary (Leigh Anna Fry), a sight in Polka dots, and the revenge seeking estranged spouse of Rita, Bronk Brannigan (James Finley), make their entrances separately to spark the plot and action.         

Director Ellen Dempsey's fast-paced production plays it pretty close to the surface, looking more for flow than depth.  The Rock stays true to a 50s farce and slapstick roots. Ms. Ginsburg, who built her performance from observing previous starlets, has her inner Marilyn Monroe down in terms of appearance, movement, and delivery, though I thought her enunciation was muffled at times.  Her character seems to be in another dimension, but it's a delight to see Rita's self-realization after each provocative line or malaprop.  Mr. Osborne, playing a sad sack George who's dressed up as Woody Allen, comes across more like Jerry Lewis.  He's the Bottom to Rita's Titania in this unlikeliest, though comical, of pairings. 

Mr. Tweel as Mike - at times confident, at times bemused, but always tending toward inebriation - is the wistful, narrative voice of the play.  He moves from potential sellout to full actualization, but seems to pass through it in a dream.  His counterpart, played with suave assurance by Mr. Lebens, is the cynical but rational antipode of the play.  He pretty much stays the course, though there'll be hell to pay (!), one suspects, in his next negotiation.   Mr. Lebens is a total delight each and every moment he is on stage; and when he's not, you'll be longing for his return.

Among the pleasures of The Rock is the script meeting scene where George and Irving improvise to deliver an Academy Award winning screenplay and statuette to the gullible Harry Kaye played with world weary abandon by Mr. Miller, at the end of Act II, superbly lighted by Jason Aufdem-Brinke (who covers Irving in a suggestive red).  Also, look for the lead up to the showdown - the Bad Day at Black Rock - and the well- choreographed fight sequence, courtesy of Steve Lada and Chuck Norris,  with Mr. Finley playing a snorting heavy (he'll take a curtain call in a "cast").  

TACT continues to provide high production values on a modest budget.  In addition to the attractive set and lighting design, costumer Rip Claussen has captured the essence of each of the characters, reflected, in particular, in the color schemes; while the sound design of Edward Moser - big band to bebop between scenes and underscoring of key moments - complements the mood.  

There are many ways of presenting The Rock while evoking the spirit of the period and TACT's approach is certainly entertaining.  Future shows might approach the script differently.  Capitalizing on the almost nonsensical title, it would be interesting to see a Theater of the Absurd (certainly of this time period) rendition, with deadpan characterizations, and a shading to the madcap.  I'm reminded of Joe Orton's comment, to the effect, that for farce to be successful, it must be played with utter sincerity. Another production might take a closer look at the dark themes - alcoholism, sexual predation, censorship (this was the period of black lists), invidious stereotyping, and corruption, to name a few of the more obvious ones - sit like so many 800 lb gorillas in the room of the time.   

However you view it, this is a world that won't pass this way again.  Don't miss it this time around.   

Additional cast:  Robert Lavery

Sound check:  Excellent, low sound levels

Program notes: Very good with artistic director's notes, which might have benefited with actor head shots; and excellent with Jack Marshall's Audience Guide, available to subscribers, which may be purchased for 3 dollars, an outstanding resource.  Scripts for productions are available for 10 dollars.  Check out TACT's website for a podcast discussion of the play.  Audience Guides from previous show may also be downloaded at www.americancentury.org

Applause meter: Recommended, 3 + hands. A fine theater experience, with good value, delivered in an intimate setting.  Design and Mr. Lebens' performance steal the show.

Runtime: About 2 hours and 10 minutes with 2 intermissions

Photo credits: Dennis Deloria

© John F. Glass January 22, 2010. All rights reserved