Dirty Blonde

Who could imagine that two misfit singles, who meet at Mae West's mausoleum in Queens, might build a future together? Claudia Shear, the actor-author of the hit one-woman autobiographical play Blown Sideways Through Life and co-author James Lapine did imagine just that and came up with a lovely play that many considered (including myself) the best new play to hit town in 2000. It uses an unlikely yearly pilgrimage on Mae West's birthday as the catalyst for an endearing romance, with a little biography of West woven through it. In Dirty Blonde's first productions, Off-Broadway and then on Broadway, Shear chose to invoke the figure and style of West by playing the title role herself, as well as that of Jo, a young Brooklyn woman obsessed with the 20th century's most infamous star (also Brooklyn-born).

To be sure, West impersonators are a dime a dozen, but Shear avoided parody as a propellant. Instead this is a disarming play with touching characters that puts an unusually witty spin on the West legend and what that legend has represented to the legions of fans.

Whoever interprets Mae/Jo will be helped immeasurably by the sheer audacity and the honesty of Shear's vision. What with the deluge of now-famous suggestive one-liners, you can be assured that the current interpreter Ryan Dunn, as West/Jo, comes well armed with funny lines. While Dunn has a secure hold on Mae's laid-back, insinuating sensual style, she is most affecting as Jo, the office temp and occasional actor destined to meet her soul mate in the most unlikely of places. Dunn, whose curves and verve are employed to utmost advantage, scores better as the aging, more clearly-defined West. You can expect that with the run just beginning, she will soon affect as sharp an image for the young West as she already has for Jo. Costumer Michael Sharpe's frumpy dress for the young Mae is no help, although his other costumes are appropriately evocative.

The play moves back and forth between West's career and the awkward, yet poignantly developing, relationship between Jo and Charlie (Kevin Carolan), a mid-western-born film archivist in a library. Ironically and cleverly, it is Charlie's job and his "private thing" regarding Mae West that adds luster to the growing relationship. It is hard not to be moved by these two oddballs who find mutual affection, compatibility and, more to the point, a sensual delight in their obsession with and admiration for their idol. As sweetly nerdy as Carolan is as Charlie, he also brings a vaudevillian-like polish and versatility to seven other roles, including W.C. Fields, a boxer, a producer, Harry, Mae's accompanist, a drag queen and a muscle man. Having understudied and played the roles on Broadway, Carolan delights with an impressive set of characters. Also with seven colorful characters to interpret is Albert Macklin, who gets the most mileage (and our affection) as West's long-time friend Joe Frisco and as the helpful film director who teaches West how "NOT to act."

Under Ethan McSweeny's slick direction, the double story moves along humorously and seamlessly within the simply suggestive settings by Andrew Jackness and the striking lighting by Jane Cox.

Shear and Lapine have fashioned a tenderly developed love story, punctuated with sassy songs from West's films, that is as irrepressible as the woman who was hauled into court for her risque play, Sex. When the judge tells her, "Be careful, or I'll charge you with contempt," she retorts, "I'm trying hard not to show it." The life and career of the queen of the double entendre has served to provide a double life for two love-worthy people. I can think of no better way to recommend this show than with West's own words: "He who hesitates is last."