Booked & Scene

Hub Theatre Company of Boston’s The Understudy, written by Theresa Rebeck and directed by Paula Plum, throws us into a chaotic rehearsal for a Franz Kafka play recently “discovered” to be stage-worthy and currently starring a movie action hero. With only three characters: Jake, the overpaid lead with a Hollywood ego; Harry, the overlooked understudy; and Roxanne, the frazzled stage manager with a personal history with one of them… the play unfolds in real-time during a hilariously disastrous put-in rehearsal. It’s a behind-the-scenes look at theater life, but also a commentary on ambition, insecurity, and the quiet power struggles baked into the industry.

“Places, Please!”: Lauren Elias as Roxanne
In a cast of three, Lauren Elias shines as the only woman on stage and the one tasked with holding the whole production (barely) together. As Roxanne, she manages the personalities, the miscommunications, and the emotional baggage of rehearsal with an enviable blend of comedic flair and sincere depth. Her timing is impeccable, especially in moments of quiet panic or escalating irritation. What really stood out was her ability to play opposite characters we never see including phone calls and shouted cues to offstage characters like Laura feel completely real. She pivoted seamlessly between her dynamic with Jake and her more fraught past with Harry, making each interaction feel believable. A total standout.

“You Know Who I Am, Right?”: Cristhian Mancinas-Garcia as Jake
Cristhian Mancinas-Garcia is a riot as Jake, the self-important action star turned “serious actor” who clearly believes he’s doing everyone a favor just by showing up. His performance is equal parts smarmy and charming, and every single one of his one-liners lands. Even when not the focus of the scene, Cristhian’s physical reactions: his expressions, gestures, the way he lounges or snaps to attention are consistently entertaining. He threads the needle between being ridiculous and being recognizable. Anyone who’s ever worked with a capital-A Actor will immediately clock how dead-on his portrayal is. It’s even more impressive knowing how lovely and down-to-earth Cristhian is offstage. That contrast makes this performance all the more impressive.

“This Is Just Temporary”: Kevin Paquette as Harry
Kevin Paquette opens the show with a bitter monologue about being a chronically unemployed actor, and it’s the kind of moment that earns immediate audience empathy. Especially if you’ve ever chased a dream that doesn’t quite chase you back. As Harry, Kevin balances sardonic wit with vulnerability, especially as the “lesser” actor in the room who still cares deeply about their work. Watching him try to do his job while being judged (often aloud) by his scene partner is equal parts funny and painful. His monologues directly to the audience are some of the most effective moments of the show, and his energy carries us through the rehearsal chaos.

“No Need for Line, They Nailed It”: What Worked
Paula Plum’s direction brings life and purpose to every corner of the intimate space. The stage feels like a real theater rehearsal world—messy, lived-in, barely holding it together (but in the best way). I enjoyed the side projections by Justin Lahue, which helped bring us into the world of the show without distracting from the onstage action. Using the theater’s center aisle to search for Laura was a clever touch, adding just enough immersive flair. And a quick shoutout to Lauren’s pre-show speech—it was short, witty, and genuine, which is rare and appreciated. Also appreciated: the trigger warnings listed in the program under the cheeky but clear label, “Consider Yourself Warned.” More theaters should take notes.

“Can We Take That Again?”: What Didn’t Work
There were a few lighting moments that had the audience a little too visible for a little too long. Nothing ruins the illusion like being accidentally spotlighted during a tender moment as you’re taking a sip of your drink. A slight dim would’ve gone a long way. The stage slaps also didn’t quite land (literally) just a bit too far apart for the illusion to work. More than anything, though, the script itself could use a trim. While the production clocked in at a clean 100 minutes, some scenes dragged and could have been tightened. Or better yet, give us an intermission. Please. For me. For all of us. Bring back intermission. 

“This One Deserves a Full House”
Hub Theatre continues to prove that accessibility and artistry aren’t mutually exclusive. Every seat, every show, every time is pay-what-you-can, and in a city that’s getting harder and harder to afford, that matters. The Understudy is a smart, snarky, and self-aware piece of theater, especially resonant for anyone who’s been in the trenches of a rehearsal or ever been the backup waiting in the wings. Christhian, Lauren, and Kevin make a memorable trio, and their chemistry brings Rebeck’s script to life. It’s funny, a little sad, and all too real. Just like theater. The Understudy runs through August 2.

📸: Kai Chao