On the afternoon of her 36th birthday, Tina Marie’s life-long companion and assistant, the repressed hermaphrodite Lorna Mae (Sheila Traviss) and pill-popping agent Bobbie Dane (Ron Litman) are maniacally attempting to resurrect Tina Marie’s long-dormant career.
Into the mix of daylong hijinx are thrust former child actor Skippy White (Chuck LaFont), a teenage rent-a-stud (Adam Biesk) and the crass, foul-mouthed Rowena Miller (Sandy Martin), who claims to be Tina Marie’s long-lost mother.
Nothing works in Thornton’s attempted satire because the playwright doesn’t seem to understand what he is satirizing: The material never delves deeper than the large-print headlines of the Enquirer, and is further sabotaged by Gretchen Somerfeld’s unimaginative staging.
Chewing what little scenery there is of Dale Tanguay’s bare-bones set, Aldrich quite effectively evokes the raging infantility of the child-woman who lusts after sugar-dipped lollipops and teenage boys.
Traviss and Litman play their roles at one level — intense. Neither is able to instill much humanity or humor into the caricatures, but Litman proves adept at physical comedy.
Faring better is Chuck LaFont as the born-again, bondage-loving Skippy White. LaFont actually strikes a hilarious balance between Skippy’s childlike idolization of Tina Marie and his rapacious desire for her teenage stud.
Sandy Martin scores a few laugh points as “mommy dearest” Rowena.
Adam Riesk is properly wide-eyed and virile as the boy-for-hire.