In many ways, Anton in Show Business is an ideal selection for this company's tenth anniversary production. Renaissance Theaterworks was created by a group of women to explore dramatic issues from a feminine perspective.
First off, Anton /> is ostensibly written by a woman, the mysterious Jane Martin (which many have guessed is a pseudonym for a well-known male director). Although Martin may indeed be a male, "she" is exquisite in her ability to raise questions about issues all women face in contemporary American society. These include: male harassment, the fear of breast cancer, and the fear of growing old -- and thus becoming "unemployable" in a youth-oriented profession). The show is a backstage look at the world of regional theater. The three actresses, who meet at an audition of Chekhov's Three Sisters, are a cross-section of types. There's a young Texas hick, a dreamer who just got off the bus in Times Square; the Off-Off Broadway veteran, who has seen too much of life in the big city; and a TV actress from Hollywood, who admits she can't act her way out of a paper bag. But at her agent's request, she has agreed to star in a "serious" drama to boost her dramatic credentials. Never mind that this production is being staged in the Texas boondocks. A job is a job, after all.
The three women manage to endure each other during the rehearsal period and, after awhile, actually start to bond. One of the show's best scenes is a sleepover, where the three actresses, now quite drunk, hang out in the same bedroom to share their secrets. When a knock at the door forces the Texas newcomer to lie to their producer, she lets out a "forgive me, Jesus" before they all erupt into a fit of hysterical laughter.
A cast of seven women portrays 15 characters in the show - some of them male - but most are more window dressing than anything else. The heart of Anton lies in its ability to draw us into the lives of the actresses who will portray the "sisters." As Lisabette, the Texas hick, Amy Geyser dusts off the perky persona that has seemingly become her trademark. Her enthusiasm restores some of the magic that the veteran actress, Casey, has lost. Sarah Behrendt has perhaps the most difficult role as Casey, since she must secure the audience's affections without the enthusiasm of Lisabette or the looks and glamour of the TV star, Holly. Terry Tuttle gives a stellar performance as Holly, showing us her character's vulnerabilities as well as her toughness. Tuttle certainly has the skills and, more importantly, the body to convince us that she's indeed a star. Holly earns the audience's appreciation from her opening scene (the audition), when she abruptly announces that Lisabette and Casey will be her co-stars. The astonished male director growls, "who's running things here?" When Holly quietly but firmly says, "I am," she strikes a definite blow for women's rights. The success of this scene is critical, as Holly's image is eroded during the rest of the play. She is egotistical enough to wreck a young man's marriage, fires directors on a whim, and constantly changes her mind. When she agrees to bankroll the floundering production, her enthusiasm evaporates as soon as she gets a casting call from Dreamworks. She makes it clear that this is an opportunity she's not going to miss. When fate steps in and derails her "big chance," it leaves the audience with mixed feelings. She remains in Texas and the show goes on, after all.
This is an exceptional production of a play that is receiving widespread attention from regional theaters around the country. In this version, Director Raeleen McMillion keeps things moving along at a nice clip, adeptly weaving a tapestry of brief scenes into a well-balanced whole. Production values are adequate, aside from the costumes, which are exceptionally well-executed.
