BWW Reviews: Nathan Lane Gives a Master Class in IT'S ONLY A PLAY

Nathan Lane holds the dubious distinction of being one of Broadway's biggest stars while also being one of the stage's most underappreciated actors. Though four Tony Award nominations and two wins is rather nice, it's astonishing to think that someone so highly regarded as one of the few remaining stage stars nationally known primarily for acting in the theatre has gone sixteen times without a nomination.

Whether or not number nineteen garners him the honor remains to be seen, but in the first ten minutes or so of Terrance McNally's wickedly funny offstage farce, It's Only A Play, Lane demonstrates why he is undoubtedly one of the greatest stage actors of his generation.

Playing a guest at the opening night party of a new Broadway play, Lane is the featured warmup act for the ensemble evening to follow, being assigned one of those phone call monologues that neatly serves up whatever exposition is needed so that the plot can be readily dived into.

He volleys a few catty salvos with another actor until it's just him, the audience and an antique theatre device. Lane plays the famous star of a hit television series who may have exaggerated his California commitments a bit to get out of starring in a Broadway play written by a close friend. The role was penned especially for him, but he smelled fresh turkey from 3,000 miles away.

Relieved that he made the right choice, Lane's character is delighting himself with a parade of wisecracks regarding the celebrities in attendance, the quality of the play and the state of Broadway itself. He nails every possible comic nuance with the old-school skill of a master craftsman, playing comedy like a seasoned maestro who knows how to maneuver each rhythm and tone to bring out every drop of humor.

His performance is no less of an achievement than that of a great tragedian captivating an audience with a Shakespeare soliloquy or a musical theatre specialist thrilling the crowd with the complexities of "Rose's Turn." There's a reason why his laughs are louder and more frequent than those of any of his accomplished colleagues and it's not because he has the better part. Nathan Lane is just that good.

His current vehicle is an oddity of sorts; a comedy that depends so much on the audience's understanding of inside theatre references that it couldn't possibly sustain much of a run once the tourist crowd starts kicking in. Much has been made of the fact that McNally has substantially revised the play, which premiered Off-Broadway in 1985, replacing gags about forgotten celebs with jabs at newer ones and updating the proceedings into the Internet age. If you do get those remarks about Bar Centrale, Michael Riedel and theatre chat boards, It's Only A Play can be uproarious; deftly mounted by Jack O'Brien and featuring a starry cast of clowns who seem to be having a grand time.

There isn't much of a plot, except that a handful of familiar theatre types are seeking refuge from the opening night festivities held in the producer's lavish home by camping out in the bedroom, anticipating the all-important New York Times review. In 1985 they waited for an early edition of the paper to read what Frank Rich had to say. In 2014, Ben Brantley's evaluation is read off a cell phone.

Perky Megan Mullally nimbly handles multiple malaprops as the first-time producer, proud to leave the ranks of investors who purchase the title in order to become a real decision-maker. Stockard Channing is viciously droll as the fading Hollywood star trying to revive her career on Broadway after spending time in rehab, required to check in by phone regularly and wear a large ankle bracelet on stage.

Rupert Grint plays the wunderkind British director who is sick of being a critics' darling with plenty of bad boy punk rock attitude and F. Murray Abraham is delightfully creepy as the bitchy theatre critic with a secret.

Though Matthew Broderick's slow, labored performances have been a detriment to many of his stage outings (Brighton Beach Memoirs and The Producers being notable exceptions), his style is a good fit for the role of the idealistic playwright who still believes in the magic of Broadway.

Micah Stock makes a terrific Broadway debut, naively funny and touching as the aspiring actor working the party as a waiter. He aces a running sight gag involving the handling of coats from famous attendees like Tommy Tune, Daniel Radcliffe and Lady Gaga.

McNally's attempt to glide the evening into a sweet, sentimental finish is not the most graceful of transitions, but the excellent company makes it work. It's Only A Play may not have a long shelf life, but for those in the know it's a great night out.

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