Him

In his program note for "Him," playwright-director Clifford Street writes, "We will be expanding 'Him' in the near future into a full Three Act Play. And after that, a film, and then, perhaps a Sit Com, and maybe even one day, a ride at a Theme Park." If one sets aside the glibness of the final part of this statement (not to mention the errant punctuation and capitalization) and simply accepts that the play is destined for a lengthier treatment, it seems only fair to say that the production currently being offered is the theatrical equivalent of an artist's sketch, where the basic outlines of a final product exist, but there is absolutely nothing that feels full-bodied or lifelike about it.

The basic arc of the show traces what happens after Nick (the handsome and stoically wooden Jon Fleming) finds himself on Hollywood's A-list of actors after a breakout performance in a movie, and how his newfound fame—and heartthrob hunk status—affects his relationship with his long-term partner, screenwriter Matthew (a frequently amusing Todd Alan Crain). Initially, the men believe they'll be able to maintain some sort of normalcy, but with mounting pressure from Nick's cutthroat manager, Margo (underwhelmingly played by Lindsay Goranson), to promote a heterosexual public persona and her pairing of her client with Latina minx Rana (Roxi Sorina) for public appearances, Matthew finds himself being pushed out of Nick's world.

Street occasionally has an ear for a good zinger about the film industry. But more often the script simply thuds with genuinely hoary one-liners. In many instances, a middling joke fails to register even a chuckle because of Street's arid and languorous staging of his staccato play, in which scenes sometimes last only a minute or two.

Further, and especially in this abbreviated form, the play feels overly convoluted, particularly when Margo takes up with dumb hunk Diego (Patrick Duke Conboy), a guy who later falls for Rana, who has more than a few secrets of her own. Also on hand is Margo's dimly sweet flunky James (James Sautter), who is more plot device than character in this play that has prematurely emerged from its developmental closet.

Presented by Clifford Street, in association with Richard Hymes-Esposito, at the Cherry Lane Studio Theatre, 38 Commerce St., NYC. Dec. 23–Jan. 5. Tue.–Fri. 7 p.m. (Additional performance Mon., Jan. 2, 7 p.m.) (212) 352-3101, (866) 811-4111, www.theatermania.com, or www.cherrylanetheatre.org.