Broadway Blog - Next Fall: Biblical Sense

While the situations presented by playwright Geoffrey Nauffts in his drama Next Fall are certainly realistic, the evening suffers from a steady feeling of contrivance as the storytelling pieces fall too neatly into place and a nagging sense that the playwright has avoided certain obvious issues that would add some needed depth to the piece.

Aspiring actor Luke (Patrick Heusinger) lies in a coma after being hit by a taxi, while his partner Adam (Patrick Breen), with whom he's been living in a committed relationship for four years, stresses in the waiting room.  Only family members are allowed to see him and if Adam explained to Luke's somewhat ditzy mom (Connie Ray) and gruff, domineering father, conveniently nicknamed Butch (Cotter Smith), why he should also be at their son's bedside it would out his lover to his parents.  (The issue of whether or not the hospital would consider an unmarried gay couple in a committed relationship as family is never brought up.)  Compounding the matter is that Butch is making serious decisions regarding Luke's treatment, unaware of any reason why Adam should be consulted in the matter.

Scenes alternate between the present day hospital events and a progression of flashbacks that bring us up to speed on the fellows' relationship, beginning when the young and handsome Luke, on a cater-waiter gig, sets out to meet the older, nebbishy Adam by giving him an unnecessary Heimlich maneuver.  ("I just wanted to get my arms around you.")  The steady conflict in their relationship stems from Adam's objection over Luke's devout Christianity; not because of his own atheism, but because he doesn't see the sense in a gay man following a faith that condemns his own sexuality.  His partner's insistence that accepting Christ insures you a place in heaven despite your sins - there is no argument from Adam when Luke's beliefs suggest that two men making love is a sin that requires forgiveness - is countered by a sobering hypothetical ("So then, if Matthew Shepard hadn't accepted Jesus Christ before he died, he's in hell, and his killers who, say, have, are going to heaven? Is that what you're saying?") but the subject is dropped just as things are getting interesting.

Nauffts can write funny lines for his two central characters and have them bring up thought-provoking topics for viewers to ponder later on, but he never gives us any sense of them as a couple in love.  There is amusing bantering but nothing in the way of tenderness and affection.  In one scene Adam frantically tries to hide anything in their apartment that hints of homosexuality, anticipating an unexpected visit from his Bible-revering dad.  His insistence that his life partner make himself scarce and Luke's refusal to do him that favor doesn't exactly build empathy for their relationship.

While Butch is presented as the obstacle between Adam and his desire to be with his partner during what could be his final moments, the conflict lacks impact because the father is never made aware of his son's sexuality and the true nature of their relationship.  He comes off as a bit of a bully, but given that his son's life is on the line such behavior might be understood, especially in a climactic scene where Luke starts standing up for his own rights and Butch has no idea why this stranger is telling him what to do.  The scene ends with a moment that seems aimed to strike hard emotionally but is just too coincidental to be believable.  Also not believable is quick exchange where Butch uses both a homophobic and a racial slur, because nothing else in the script justifies suddenly painting him as a bigoted man.

But despite holes in the plot the evening's surface is smooth and rather enjoyable, thanks to crisp staging by Sheryl Kaller that emphasizes the wit of Nauffts' dialogue.  While the characters lack empathy, the actors (including Maddie Corman and Sean Dugan in roles that exist primarily to give Adam a chance to speak openly) give appealing performances.  There are some especially nice moments between Ray and Breen as the mother silently hints that she's beginning to understand Adam's position.

Next Fall is that kind of play that, at first, appears to be tackling some weighty issues.  But as the evening progresses it becomes apparent that the author is only lightly tapping them.

Photos by Carol Rosegg:  Top: Patrick Heusinger and Patrick Breen; Bottom:  Patrick Heusinger and Patrick Breen