'Anton' skewers theater life with comic affection

 By By ARLINE GREER
 Sun theater critic 

 Only someone well versed in the many aspects of theater production could have written "Anton in Show Business." It is generally acknowledged that Jane Martin is a pseudonym, but for whom? The most likely candidate is Jon Jorey, who presided over the Actors Theatre of Louisville for 30 years. 

 The playwright knows all about the pains and aches, the delights and triumphs of performing regional theater. In the space of a scant two hours, the Hippodrome State Theatre production of "Anton" skewers corporate sponsors, incompetent producers, small-time critics, self-important directors, and such sacred topics as multiculturalism, surgically beautified actors, and without so much as a blush, shows how theater can create bonds between players and audiences. 

 From start to finish, Lauren Caldwell has directed a cast of seven women in a boisterous romp as they attempt to mount a production of Anton Chekhov's "The Three Sisters" in San Antonio, Tex. 

 Merideth Maddox plays Lisabette, a cute, young third-grade teacher who auditions for the first time. Sara Morsey is Casey, the jaded off-Broadway actress who is distinguished for having closed 200 plays without being paid. 

 The two are befriended by Holly, a hotshot TV star who is looking for acting credibility by appearing in a Chekhov classic. Joy Schiebel's Holly blends sexy cynicism with a heart of gold that almost melts when her big chance comes along. 

 The three journey from New York City to Texas and along the way, they meet a slew of theater people: the incompetent British director, the Black Rage Ensemble director, a country singer and part-time actor who falls for Holly, and a Russian director, who actually does understand Chekhov and the limitations of his cast. 

 From time to time, the story is interrupted by an audience member who criticizes the actresses and the play. Dana Panepinto is properly annoying in this role. 

 All 15 male and female roles in "Anton" are played by seven women. Women playing men is a conceit that sometimes falls flat, but in this instance, it works well. Credit expert performances by Bonnie Harrison as Kate, the producer, and Ben, the singer; Nell Page, who gives convincing portrayals of the Russian and British directors; and Sonya Cole, who shines as the Black Rage director who refuses to use Chekhov's script. 

 The three leads, Maddox, Morsey and Schiebel, really do bond like their "Three Sisters'" counterparts. 

 They bring to life the now-we're-on, now-we're-off intangibles of theater production, and they do it with affection for the craft they salute.