Two actresses, claws full extended. One sleazy film producer and a tyro playwright who just want to get a film completed... just another day in a not-to-far-from-reality satirical look Hollywood. Prolific playwright John Patrick Shanley (Sailor's Song, Doubt, Psychophathia Sexualis, and many more) has an intimate knowledge of Hollywood. His hilarious Four Dogs and a Bone, currently at New Village Arts in Carlsbad, severely slashes at stereotypical Hollywood characters.
Shanley's movie credentials include "Moonstruck," "Alive," and "Doubt," as well as others that garnered slim audiences. Aptly named, this play deals with four people having conflicting self interests, groveling over a film. Let's meet them.
The first dog is Bradley (Eric Poppick), a film producer. He is a classic manipulator; partially out of necessity, trying to keep various egos from devouring other egos, and partially because it is just his style and a necessity. Poppick is so convincing, I know I met Bradley several times when I was in the business. True, he creates a whole new level of absurdity and is totally over the top, but then so are many film producers.
The next dog is Brenda (Kristianne Kurner). A sweet and homespun girl like next door -- or so she would like us to believe. In reality, she is out to increase the amount of the bone she'll get. Her darling self would be very content to eliminate another actress completely from the project. She is bent on convincing Bradley that the flick is in peril if he doesn't make changes. After all, she claims to have a famous movie-star stepbrother who would be happy to do a cameo to help his sweet, endearing stepsister to stardom.
That other actress (dog three), Collette (Amanda Sitton), is much more direct. She is an aging actress (Sitton must have had put on a ton of make-up to get that aged look) who knows all the tricks to get men to do her bidding. She plies the playwright with copious amounts of booze, nuzzles up to him seductively, and, alas,
fails in her pursuit of an increased part or the elimination of some of Brenda's scenes. She knows, and it is viciously brought to her attention, that she needs the lead. If she fails, the rest of her career will bring minor supporting roles.
Finally, there is Victor (Joshua Everett Johnson, who also directed), a naïve first-time screenwriter. The three others try to manipulate him. The producer has his own ideas about the script a script that is expanding exponentially, while the actresses are intent on expanding their roles at the expense of the other. His naïveté becomes short-lived as he must counter the entreaties and stand up for his artistic integrity.
The cast is excellent, the comedic timing is perfection, and the pacing is effective. Director Johnson cast from the ensemble of New Village Arts and Eric Poppick. Not only are they excellent, they also look right for each of their parts. Poppick's presence is that of a producer both in charge and constantly balancing what is best for the film. What is best, from a producer's eye, is to bring the picture in on budget and on time. All else matters not.
Kurner and Sitton, both attractive actresses, are stars in their own right and naturals for their roles. I assume, though, that the cattiness is all pure acting skills. I've worked with new screenwriters like Victor, and Johnson absolutely nails this all-too real stereotype.
Tim Wallace's scenic design works well. The theater takes advantage of moving walls, allowing for relatively quick scene changes. Flats fly in and out, while the hinged primary set becomes a second location quickly. Adam Brick's sound design works, too. I was a bit thrown by the shadows on back walls in Justin Hall's lighting plot. Amanda Sitton's costumes match each character, helping to further define them.
Four Dogs and a Bone is a satire, albeit not so over-the-top as it appears. The self importance of Bradley, Collette, and Brenda exemplify some whose close-ups can be 30 feet high on a screen, and while the Victors in the industry are few, they are a delight to meet and work with.
