In Hub’s ‘The Understudy,’ an actor finds his voice

By Rich Fahey

BOSTON – Perhaps I have been part of the problem right along.

In writing theater reviews for the past three decades, I never noted the names of the actors understudying the various roles, except for the rare times when they actually went on stage. Some understudies, of course, are swings or members of ensembles and are actually on stage while serving as understudies.

But if you have been honing your craft for years and finding yourself still relegated to understudy status – even if you believe yourself to be a superior actor – the frustration and bitterness can boil over.

And boil over it does in the Hub Theatre Company of Boston’s production of Theresa Rebeck’s comedy “The Understudy,” directed by Paula Plum, now at the Club Café through Aug. 2. Rebeck is a prolific writer, perhaps best known on the stage for Broadway productions of “Seminar” and “Mauritius,” as well as the hit TV show “Smash.” Here she puts the spotlight on one of the least -appreciated jobs in the acting profession.

At an understudy rehearsal for a new fictional work by Franz Kafka, a harried stage manager named Roxanne (Lauren Elias) struggles to put things together. There is Jake (Christhian Mancinas-Garcia), a hunky up-and-coming action movie star making his Broadway debut, and Harry (Kevin Paquette), the newly-hired understudy for Jake. We learn Harry has a romantic past with Roxanne that didn’t end well, with Harry not even saying goodbye.

Harry has also come aboard carrying a rather large chip on his shoulder, making it plain he is bitter at being an understudy after years of working hard and paying his dues.  And he has little respect for Jake’s talents, even though Jake starred in an action movie that grossed $67 million in a weekend. The unseen lead of the Kafka play, Bruce, is an even bigger action movie star.

It leads to “spirited” conversations between the actors about their contributions to the craft, with Roxanne acting as a reluctant referee, and Jake pushing back hard against what he sees as Harry’s condescending attitude towards him.

And, when a romantic spark between Roxanne and Jake turns into a full-out flame just as Harry re-enters the stage, it appears full-out war is imminent. Still, Roxanne and Harry begin to find common ground again. Lurking in the background are other complications; it seems Jake is angling for another major movie role.

Paquette as Harry is given the showiest role, and he lets it all hang out as he goes over the top with several comic monologues, and, perhaps, along the way, winning back Roxanne. Mancinas-Garcia is determined to show Harry the depth of his talent and that he is much more than a pretty face. As the rehearsal stops and goes, often switching scenes at the drop of a hat, Elias’s Roxanne continues to show grace under pressure, something stage managers usually have in great supply.

When it comes to the theatrical side, Rebeck does get a lot of things right, including the passages from the fictional play written in the style of Kafka, which allow Harry to show off his acting chops, and also when she depicts the relationships between those who occupy different rungs on the theatrical ladder.

But there are also some awkward areas. The running gag about an unseen technical director named Laura who is frequently AWOL or pushing the wrong button grows tiresome, and there is also the matter of Jake also serving as the understudy for Bruce, the lead actor, which I don’t believe I’ve ever seen.

Hub has made huge strides through the years in technical areas, and this production is greatly enhanced by projections designer Justin Lahue and projections assistant Maggie Shivers; a trailer detailing Jake’s action movie “Trucknado” is hilarious. There’s fine contributions from others on the large design and support staff, including scenic designer Peyton Tavares,   lighting designer Emily Bearce, sound designer Gage  Baker,  choreographer Kiki Samko, and, speaking of underappreciated sorts, stage manager Mia SanGiacomo.

Director Plum was seen recently in Boston’s July 4 celebration with the Boston Pops Orchestra and Boston Children’s Chorus, performing “America the Beautiful,” and telling the story of Katherine Lee Bates, the song’s author. She will reprise her performance at Tanglewood with The Pops next month.

Plum has lent her talents to the Hub on several occasions and her fingerprints can usually be seen all over a production, especially when it comes to comic timing, pacing and attention to detail. Under her direction, Elias, Paquette and Mancinas-Garcia deliver performances that are both comical and nuanced.

Hub continues the “Pay What You Can” ticket price, a policy it has adhered to since its founding in 2013.

Theater people are a different lot.  “The Understudy” offers a humorous, heartfelt look at who they are and what they do, and our need as human beings to feel appreciated.

The Hub Theatre Company of Boston production of Theresa Rebeck’s “The Understudy.” Directed by Paula Plum. At the Club Café, Columbus Avenue, Boston, through Aug. 2. Hubtheatreboston.com.