The Little Dog Laughed (Garrick Theatre)

Douglas Carter Beane’s satire on sexuality in Hollywood was not perhaps, an obvious candidate for success. The review poster outside began by declaring that the author’s book for the tragically disastrous 80s musical ‘Xanadu’ was the worst ever, although it did go on to say that this effort was a pleasant surprise.

At the box office a couple of girls seemed far more concerned as to whether Gemma Arterton would be appearing that evening. “Is she definitely on stage tonight?” they asked. “’Coz if she’s not, we’re not buying tickets.” She did appear, as did Olivier award winner Tamsin Greig, so the risk was well worth taking.

Greig plays acerbic lesbian agent Diane, whose rising star Mitchell is suffering a ‘slight recurring case of homosexuality’ which she is anxious to suppress, to help him get the lead role in a forthcoming movie. Acting as the chorus while she directs the lives of the other protagonists, the play examines the hypocrisy in Hollywood about openly gay leading men. This is underlined by the fact that the writer of the play’s script is himself homosexual and the original script is about two men in love, and of course the agent is gay herself. How to get the film produced, have her client as lead and outwardly remain the straight icon he seemed when he spontaneously kissed Diane at an awards ceremony?

Rupert Friend and Harry Lloyd play the two male leads, as the gay actor Mitchell who drunkenly dials for Manhattan rent-boy Alex following his awards triumph, with whom he rapidly falls in love despite not feeling able to have sex. They fumblingly agree to meet for a non-professional date. The rent-boy is already having an on-off relationship with Arterton’s character Ellen but looking to dump her when he accepts his own sexuality after a drawn-out fumbling relationship develops with Mitchell. Not knowing he’s just made Ellen pregnant. Diane is horrified when she walks in just as the two men are finally experiencing their first kiss in his hotel room. Worse, Alex has just taken his trousers off, although with his back to the stage to minimise shock to the audience. Although a sophisticated west end audience probably wouldn’t make a big fuss over a little thing like that. A desperate Ellen tells Alex about the baby but he asks for money for an abortion. Mitchell promptly asks Diane for an advance of his movie fee.

Diane manages to get the script written and her client accepted as the lead with the re-writes needed to maintain the pretence that he’s not gay and even wrests the rights from the writer (and try saying that after a few drinks). She produces a cheque but points out that lovelorn Ellen (a genuinely affecting performance from Arterton) could marry Mitchell so she can have the security, baby and prestige she craves, Mitchell has his cover story against suggestions about his sexuality and Alex can remain friends with Ellen and be the secret lover of Mitchell. Diane, of course, keeps a lucrative business relationship. Alex however, decides to keep his integrity and freedom and takes a bus to Nowhereville, USA, to start his life again while the fake wedding takes place anyway.

Perhaps you could say that the play hits at some obvious targets but the dialogue is sharp, the pace is brisk, the acting spot-on and so is a pleasant enough diversion without breaking any barriers.