STAGE REVIEW : ‘Couple of Guys’ Humanizes Critics

Critics are choice subjects for satire. But on the rare occasions when they are dramatized, they’re usually stereotypes--either windbags or effete snobs.

The funniest movie about theater critics was “Theatre of Blood,” which appealed to anybody who ever wanted to throttle a critic. But it didn’t tell you anything about the competition and power games practiced in popular criticism.

Now, finally, we have a comic satire about a pair of TV movie critics, “A Couple of Guys at the Movies” at the Tamarind Theatre, that manages to skewer and uphold the values of the opinion-making business.

These critics, under their inflated egos, seem real--a bit fatuous and glib but basically redeemable and altogether human.

First-time playwright Phil Doran (a successful TV producer) did not set out to satirize household personalities. These “guys” are not Siskel & Ebert. One of them (Henry Polic II--even his Roman numerals fit his intimidating character) is an insufferable but brainy lover of foreign art films, while his partner (brash Gary Kroeger, promoted up from weatherman) glorifies low-brow action movies. Alone, neither could make it. Together, they’re audience dynamite.

They also despise each other.

In a play that cleverly echoes the human polarities in “The Odd Couple” and “The Sunshine Boys,” Doran has demystified a particularly timely and ripe subject--who are critics anyway and how do they work? Because these critics are on TV, their double role as observers/entertainers makes an especially amusing target.

They’re obliged to interview movie celebrities, and the funniest moment occurs when a grouchy, doddering old film director (Kurt Knudson)--whom one of the critics loathes--is hauled before the cameras for a reminiscence that turns into a disaster.

Polic is terrific as a high-minded guy whose artistic principles and demanding taste are buffeted by the compromises of the job. Kroeger is also excellent as an opportunist who will gladly cater to the lowest common denominator in order to win a trip to Cannes.

Paige O’Hara plays the critics’ sleek producer (deliciously costumed by Tammy Stevenson), and their movie poster-strewn studio was warmly appointed by Scott Heineman.

The plot gets overwrought toward the end with a handgun episode that is more silly than funny or incisive. And the production’s single biggest misstep is a gross sideshow barker in a checkered jacket (Richard Paul) who serves as the TV audience host in a throwback to the boardwalk that has no credible place here.

Still, as staged by Chip Chalmers, this intelligently observed and knowing play is neither mean-spirited nor self-congratulatory, as so many entertainment industry stories are.