[NEohioPAL] Berko review: THE BOYS IN THE BAND @ convergence-continuum

[Roy Berko]

Con-con’s THE BOYS IN THE BAND fun, but lacks needed
consistent realism
 
Roy Berko 
(Member, American Theatre Critics Association)
  
--THE TIMES NEWSPAPERS--
Lorain County Times--Westlaker Times--Lakewood News
Times--Olmsted-Fairview Times                 
 
--coolcleveland.org
 
Mart Crowley’s THE BOYS IN THE BAND, now on stage at
convergence-continuum, holds a unique and important place in theatrical
history.  It was the first professional hit play to examine life for
homosexuals before the Gay Revolution.  It played over 1000 performances
off-Broadway, an unheard of success for a show that appealed to a niche
audience.
 
To truly get in touch with the script’s intent, it is
necessary to understand the era from which it comes.  It’s 1968, a time
when intimacy between same sex people was illegal.  Where gays and
lesbians had no legal rights regarding jobs or housing, and gay hate ran
rampant.  It’s a year before the Stonewall riots the event that ushered in
a drive for gay and lesbian human rights. A revolution that has brought about
legal changes, the elimination of restrictions against homosexuals in the
military, achieved gay marriage or civil unions in many states, and created a
general lessening of negative attitudes towards those attracted to members of
the same sex.  
 
A group of eight gay men are assembled for a birthday
party in a New York apartment. There’s Michael, the party’s host, an alcoholic
who turns to excessive buying and religion to try and hide himself from himself,
and Donald, his weekend guest, who escapes to the Hampton’s to spend his time
constantly reading and going to his therapist to fill a psychological void. 
There’s the flamboyant Emery, who uses sarcasm and outrageous humor to deflect
his true feelings.  Another attendee is Larry, an artist who finds
satisfaction in multiple lovers, much to the angst of his boyfriend, Hank, who
has left his wife to be with Larry and wants relational fidelity.  Bernard
is a black man who plays the “yasa boss “roll of allowing others to taunt him
for not only his blackness, but his everlasting love for the Caucasian son of
his mother’s employer; and the birthday boy Harold, who describes himself as “a
pock-marked Jew fairy.” 
 
As the play evolves, one wonders how and why this group
are friends.  They appear to not like each other, and, in fact, spew
dislike.  But, there is a bond, a bond of desperateness.  These are
all men who cling to each other because of their need for reassurance, even if
it’s negative, in order to deal with their self-doubts and self-hatred. 
 
Con-con’s production, under the direction of Tyson Douglas
Rand, is inconsistent.  This is a drama that requires fidelity and
realism.  Though filled with laughs, it seriously focuses on these men and
their angst filled lives.
 
Clyde Simon steals the show as the flamboyant Emory who
can hardly keep his wrists from going limp, hips from swaying, hands from
flailing, and voice from screeching.  Zac Hudak is natural and believable
as the introspective Donald.  Dan Kilbane, as Hank, the man who left his
family for a new life, is real, both properly pathetic and vulnerable. 
 
Jonathan Wilhelm has all the right snarky moves and right
biting vocal sounds as the self-loathing Harold.  Though he does a nice
job of acting as the air-headed Cowboy, a hustler who has been purchased for
the evening as a gift for Harold, Benjamin Gregg is missing the physical brawn
and beauty that is a requirement for the role.  Bobby Williams creates a
credible Bernard.
 
Neither James Jarrell, as Alan, Michael’s former college
roommate who accidentally walks in on the goings on, nor Scott Zolkowski, as
Hank’s promiscuous lover, develops a consistent persona.  Both speak
words, not meanings.
 
A major cause of the show’s lack of true believability is
Curt Arnold (Michael) not having control of his lines.  It’s a minor
problem in the first act, but his stumbles, repeats, and breaking character,
takes the wind out of the highly emotional second act as he fails to
realistically lose control as he falls deeper and deeper into drunkenness.  
His line flubs effect the interactions of all on stage and throw roadblocks to
the realism.
 
The Liminus has a postage stamp stage that makes all the
action up close and personal.  Actors can literally touch and speak to the
audience, which they often do.  It supplies a greater cry for realism than
if this were a performance with some distance of separation.
 
The costumes leave much to be desired.  Many are not
era correct, jackets don’t fit, supposedly expensive sweaters have holes in the
sleeves.
 
Capsule Judgement: THE BOYS IN THE BAND is an important
play filled with images of being homosexual in the U.S. before the gay
revolution. The production is fun, but to be totally successful it needed to be
consistently realistic.  It’s okay, rather than being great!
 
Side note:  With the sold performances that THE BOYS
IN THE BAND is getting, artistic director Clyde Simon should consider doing at
least one gay-themed show a season.  No venue in the area makes an effort
to satisfy the interests of this large niche audience. Numerous proven scripts
are available or, if Simon wants to do originals, he can turn to Chicago’s
Great Gay Play Contest for material.
 
THE BOYS IN THE BAND runs through October 29 at 8 pm
Thursdays, Fridays and Saturdays at convergence-continuum’s artistic home, The
Liminis, at 2438 Scranton Rd. in Cleveland’s Tremont neighborhood. For
information and reservations call 216-687-0074.

Roy Berko's blog, which contains theatre and dance reviews from 2001 through 2011, as well as his consulting and publications information, can be found at http://royberko.info.  His reviews can also be found on www.coolcleveland.com and www.NeOHIOpal
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