With Alison Bruce, Charlie McDermott, Paolo Rotondo & Sophie Henderson. Directed by Shane Bosher with Peter Elliott.

Silo Theatre Company @ Herald Theatre, Auckland, 25 Oct (on stage until 15 Nov)

The Royal Opera House in London once staged Wagner's Lohengrin on a unit set consisting of a huge bed, constantly reminding us that the opera is about the unconsummated marriage of two chaste Christians of legend, one of whom cannot be trusted to keep her word.

John Verryt's brilliant (as always) bed-centred set for Silo Theatre's The Little Dog Laughed, a nominee for the 2007 Best Play in the Tony Awards, is also symbolic, not of chastity, but of the complexity sex brings into the lives of its characters (thereby extended to us all). The bed sits centre stage, insistently, often used, and, when not used, a reminder of the fact that anything but chastity in the lives of the famous is potentially dangerous, especially if one is dallying in the love that dare not speak its name.

Beane is an old-fashioned writer, much in love with stereotypes, a fact confirmed when one considers that he's best known for his musical adaptation of Xanadu, the cult film of 1980, in turn inspired by a Rita Hayworth film from 1947.The Little Dog Laughed is entirely populated with stereotypes, but Beane has the wit and talent to bring something un-stereotypical to the fore, and in this tale the sting is in the tail.

Thespian Mitchell Green (Rotondo) is a 'B' lister whose agent Diane (Bruce) is determined to elevate to prime status, and who has the potential as a Hollywood actor to achieve it in the film version (which Diane manoeuvres to produce) of an award winning off-Broadway piece about a gay relationship. Mitchell himself, underneath the tinsel linking him romantically with Diane, is "going gay". He falls for "straight" rent boy Alex (McDermott) who also, quelle surprise!, falls for him; and the two Hollywood cowboys plan on riding off into the sunset holding hands. Got the idea? No way is this gonna happen to agent Diane, who's risking everything for Mitch. There's another twist in the matter of Alex's girlfriend – excellently played by Sophie Henderson – and what to do with/for her.

A delightful mix of French farce, black comedy, and American schlock, the play had us all joining the petite canine of its title not merely laughing but guffawing loudly at the fascinating absurdities deception brings into the life mix and what fools 'dem mortals be. The play's disturbing message, however, is not a very comforting one if you happen to be a gay man.

The ensemble work and timing of this quartet is admirable. Each part is to die for and everyone ends the evening with a mouthful of the bed, to use the obvious metaphor. Alison Bruce's Diane takes full command of the stage and her acerbic accent cuts everyone down to size. As to accents, I felt that Charlie McDermott's was the most consistent and also that his was the truest portrayal, and that's saying a lot, as all of these characters are OTT. The energy onstage is phenomenal.

In sum, if you want a great evening in the theatre, then get down to the Herald and enjoy!