Aug 21, 2009  |  By: Robbie Barnett  | COMMENTS     

Plays about Hollywood legends have become almost a genre unto themselves this decade. When they’re done well, they can be a welcome alternative to DVDs of old movies. Claudia Shear’s “Dirty Blonde,” an homage to Mae West, is proving one of the most durable. It opened on Broadway in 2000 and was nominated for a gaggle of Tonys. It’s being revived now in a Signature Theater production that’s playing in Arlington through Oct. 4.

“Blonde” is the story of two passionate Mae West fans, aspiring actress Jo (Emily Skinner) and film archivist Charlie (Hugh Nees) who meet at West’s grave and form an unexpected relationship swapping stories about their idol. The spirit of West hovers over the production as Skinner, in a dual role, also plays the legendary screen siren, singing several of West’s signature songs while J. Fred Shiffman, who rounds out the cast, plays a variety of roles including West’s first husband and her Vaudeville piano player, a role much like the one he played in Studio’s “Souvenir” two years ago. The setting darts around between the modern-day tale of Jo and Charlie while also recreating moments from West’s 70-odd year career.

It’s hard not to compare “Blonde” to Matthew Lombardo’s “Looped,” the recent Arena Stage production that found Valerie Harper having a field day as Tallulah Bankhead. Though “Blonde” preceded “Looped” by several years and, despite obvious similarities to finding inspiration in the lives of long-dead stars from Tinseltown’s Golden Age, the two are very different plays.

Though Skinner nails the distinct voice, mannerisms and hip tossing of West’s classic shtick, she doesn’t quite reach the level of uncanny portrayal that Harper managed as Bankhead. It’s a tough assignment, though. How does one tackle West’s campiness without descending into broad caricature? After all, West was parodying herself for huge chunks of her erratic career.

Skinner has her moments, though. She’s most convincing when dressed to the nines and singing a classic West production number, complete with the famously emphasized drawl that West incorporated. She appears to be having the most fun portraying the fossilized West of the era of “Sextette” (West’s last film, a train wreck and camp treasure chest of stupefying proportions). Her Jo, which she plays as a charming and cutesy Nia Vardalos type, is effectively done.

One of the play’s best scenes finds Jo and Charlie watching “Sextette” on TV, referring to it as a “freak show” and laughing at how the then-nearly deaf West was all but propped up to perform. It’s touching because it touches on something that few have explored — the ability, widespread among gay men, to love a legend while also enjoying a few laughs at said legend’s expense. Rabid fans of old Hollywood will appreciate that.

Nees, too, has a tough assignment. He comes off as a timid gay man in several scenes and seems sexually ambivalent in others, even pathetic at times. The play has some surprises up its sleeve for his character. Those surprises contribute to the chemistry between Jo and Charlie, which is really at the heart of the play. West’s life story is presented more as a backdrop to their budding and complicated relationship, setting the stage for surprises. 

It’s an odd juxtaposition — the West segments end up playing like pleasant distractions — but it also keeps things moving. The show flows with a brisk, yet never rushed, pace.

There’s nothing terribly thought provoking or deep here, especially for seasoned West disciples, but it’s a lighthearted and entertaining theatrical diversion that unfolds well in mostly skilled hands.