No Drama Productions' You've No Business Near Show Business at On The Spot Theatre
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 5/21/99
(out of )It's every actor's secret yearning: writing and performing a one-person show lampooning the business that surrounds the field of their dreams. Unfortunately, it's not every audiences delight, since the further inside the jokes become, the more people it could potentially alienate and/or leave without a clue. Nearly every season, though, despite the potential pitfalls, an actor plunges in, and starts strafing the sacred cows of the entertainment field.
This season, actor Scott Hopkins has succumbed to the bug, and tapped valley actor Nicolas Glaeser to direct his pointed rant, You've No Business Near Show Business. The result is a mixed bag of great acting and sometimes solid, sometimes not, writing. On the one hand, in terms of the script, there are some very fresh and viciously funny bits as Messrs. Hopkins and Glaeser take aim at a wide variety of Showbiz targets, both local and national. On the other hand, though, there are moments where the audience must wonder why Mr. Hopkins is going over the same ground covered by such various lampoons as the Forbidden Broadway series, and Saturday Night Live. The best way to describe it is this: one of the better of the ten or so blackout sketches, entitled "Actor's Anonymous," has a stretch of time where the actor giving his testimonial begins using a series of lyrics from major musicals written in this half of the century. The more of those you can connect to the correct musical from whence it came, the more you will like this show. The less interest you have in attacks aimed at Agents, Hollywood-style Lawyers, Matthew Weiner, Ticket Scalpers, and, a-hem, Theatre Critics, then the less likely it is you'll enjoy this production.
Mr. Hopkins has called this piece an "end of the millennium lullaby sung between clenched teeth." There are some moments where his vitriolic views are on target, such as his "Actor's Anonymous" sketch as mentioned above, and his very funny take on the fallback of teaching theater, "Educating Boise." There are other bits where the bile is spread too thickly, and, as is the danger with this type of presentation, seem to be more ethereal angst or sour grapes than sharp criticism.
The weakest bits in the show, one of which also unfortunately starts the weaker first act, are the more general, crude, and just plain nasty "I just play one on TV" and "Bonfire of the Humanities." The first is a blast at "show-trial" lawyers, more interested in their make-up than their defendant, while the second is a David Hare-styled screen agent's justification on why they are as foul to women as they are. When considering the ironic use of Tennille Audi as a commentary-laden Vanna White-type used for crass jokes between scenes, there's something uncomfortably self-serving and self-referential about the show when it does not work.
While it alternately soars and burrows, it is very well served by Mr. Hopkins' acting and the directorial debut of Mr. Glaeser, both of whom keep this show running tightly and smoothly. The piece is very measured, and there are no major faults to mention in performance or staging. Also of note is Dave Vaught's Lighting Design, which is very effective in the small space, and the on-target Sound Design by Rob Sucato.
When Mr. Hopkins is bringing a more personal touch to his satire, this piece is simultaneously poignant and pointed, and hits the bulls-eye accordingly. When he goes for the crass effect, or takes on the monumental flaws of our society, it can be an uncomfortable experience for the audience, but not the right kind of uncomfortable. Fortunately, the second act of this piece seems more private, and therefore more appreciable, making this a reasonably balanced production that insiders will love, fringe-artists, theatre-lovers and wannabes will appreciate, and those not bitten by the showbiz bug may do better missing.
One last thing. I can't help but mention that the last scene of Mr. Hopkins' piece is a dig at the Theatre Critic, and ironically, as his critic character (named Mr. Frank Dick, and I'll leave you to decide on that choice) is rattling off the problems of this piece, he correctly points out some of the things I found to be flaws in the show. Whereas Mr. Hopkins' critic is frightened into a nicer review by a threatening phone call, I feel compelled to point out that my home office phone number and email address are always accessible, and while I won't back down from my critique, I'm always glad to spar the finer points of my assertions.
Production Details:
You've No Business Near Show Business by S.A. Hopkins
No Drama Production
On The Spot Theatre, Phoenix
(602) 855-6792
May 21 - May 30, 1999