Me and Robert McKee, Circa Theatre, reviewed by Michael Wray
THE Me in Me and Robert McKee is Billy Dolan. Embittered by the loss of his wife to another man, Billy is now cohabiting with his old friend Mac. It’s an odd couple scenario; the two have little in common. Billy is a writer, expressive, giving free rein to his feelings. Mac is a banker, in control and emotionally repressed.
McKee is a silent partner, a reference who is never there. Billy teaches a script-writing course, featuring McKee as a recurring topic. McKee really is a script guru, cited by Hollywood writers. The play’s author, Greg McGee, has attended McKee’s seminar. It would be interesting to know how much of McGee’s opinion of McKee is reflected by Billy.
The play alternates between Billy’s lectures and his interactions with Mac, with whom Billy has a joint venture to fund the development of a film script. Under Jennifer Lal’s light design, the auditorium lights come up for the lecture before transitioning down and into the next scene of Billy with Mac.
Billy opens each lecture with a joke…did you hear the one about the writer, actor, director and producer? Christopher Brougham appears to be having genuine fun playing the dishevelled, damaged writer. His enthusiasm is infectious.
Paul McLaughlin must play Mac within narrow confines. He does a great job of giving us a Gordon Gecko-like greed is good veneer, a dry wit that hints at an underlying angst. As we get to explore a childhood trauma, the mask slips and McLaughlin offers a great contrast between the two sides of Mac.
Brian King’s set is based on the theme of writing. Giant extracts of the script serve as curtains, a drinks shelf is an F and a desk is a K.
Director Conrad Newport successfully balances the comedy with the drama, producing an entertaining 75 minutes of theatre, particularly for anyone who’s faced the terror of the blank page.