Enjoyable ‘Little Dog’ shows more than naked bodies
The program for Las Vegas Little Theatre’s presentation of “The Little Dog Laughed” gives a warning about the play’s “full male nudity, strong language, and mature themes.” It’s not for the squeamish.
But in playwright Douglas Carter Beane’s Hollywood satire, the profanities have a lyrical roll and the nudity is a natural, symbolic part of the story about two repressed guys, played by Chris Hermening and Jason Nino, who bare body and soul to each other in a moment of vulnerable abandon. Plus the scene is incredibly funny and the physiques are nice to gaze upon, easing any embarrassed squirming in the seat.
Director David Ament has a propensity for guiding pace, giving this piece an organic, comfortable feel. He captures Beane’s witty dialogue and various styles, ranging from semi-farce to rhythmic duets to monologues that feel like stand-up. The petite playing space in the Fischer Black Box can be troublesome for complex staging, and Beane’s script covers multiple locations and many overlapping and sometimes simultaneous vignettes. But along with the warm, spot-on lighting design of Kendra Harris, the specific sound of Sandy Stein and the elegant hotel room set of Matthew Baker, Ament avoids confusion about place.
Audrey Hepburn and Marilyn Monroe gaze at us from the headboard of the prominent, centrally located bed, giving Tinseltown flair to the New York City locale. Aging matinee idol Mitchell (Hermening) is there to attend an awards show with his sardonic, control-freak agent Diane (Lee Meyers). The grease for Hollywood’s glossy image machine, she struggles to keep Mitchell’s ever-increasing homosexual urges in check. But Mitch has grown weary of his false face, and when young hustler Alex (Nino) arrives for an interlude, feelings in the two are stirred.
Alex denies homosexuality by keeping party-girl girlfriend Ellen (April Sauline) around, but he likes Mitchell in a way that he hasn’t before with his johns. They are “damaged goods” as Alex says, with both hinting at possible childhood abuse. And to Diane and Ellen’s dismay they attempt to find happiness and authenticity through a relationship together, which inevitably unravels and leads to chaos. Fortunately, Diane is the master fixer.
Nino gives an uncomplicated, grounded Alex on the outside while quietly revealing the conflict about his identity. It’s wonderful to watch him grow as he takes Alex from low-life rent boy to man of integrity.
As Mitchell, Hermening presents a sincere, humble guy both excited and nervous about expressing his true self. He has movie-star looks and charm but is so anxious that he neglects the character’s confident, narcissistic side. But his sensitivity allows he and Nino to share an intense chemistry essential to the show.
Meyers is nicely laid back and gives a delicious, evil stepmother feel to Diane. She revels comfortably in her own despicable skin, proud of having sold her soul for success. Sometimes she is too relaxed and loses some potency of words in her powerful monologues.
And as Ellen, Sauline brings delightful insight and sad resignation to her air-headed Valley Girl. She is also endearingly funny and a master of Beane’s stand-up-style monologues.
