BWW Reviews: DiPietro's FUCKING MEN Makes Its Mark In Midwest Debut

Just in time for the end of Pride Month, Tony-winning playwright Joe DiPietro ("Memphis") has worked with Bailiwick Chicago to produce the Midwest premiere (and only third production ever) of his 2008 play "f-ing Men," an adaptation of Arthur Schnitzler's 19th century play "La Ronde" that is now stunningly and cleverly updated and turned inside out.

Also the source material for the 1994 Michael John LaChiusa musical "Hello Again" (seen earlier this year at Chicago's Bohemian Theatre Ensemble), "La Ronde" takes the unusual structure of a series of two-character scenes, one character moving into the next scene, and so forth, until the first character returns at the end. Ten scenes, ten characters, like bumper cars. Using this same structure for a depiction of urban gay males in the 21st century is a fantastic idea (it was originally about men and women, you see). And, while "f-ing Men" perpetuates a stereotype, the device it employs reminds viewers of the axiom, "It's a stereotype because it's based on truth." For the scenes, you might have gathered by now, are all about sex. Every character we meet has some type of sex with two different other men. But do they like it? Are they comfortable with this perpetually recurring pattern? Aye, there's the rub!

Not that this play is a series of sex scenes--far from it. Some of them don't get overtly erotic at all, and others do so only at the end. Some are pretty explicit. There is a little bit of nudity. And yes, this play is certainly for adults. But is it so much more. For one thing, it demands that audiences think, remember and pay attention to more than just taut young bodies and titillating situations. I mean, who are these men? What do they want out of life, really? The script touches on prostitution, gays in the military, health club locker rooms, cyberspace, power and control, sex versus love, fidelity, open relationships, bisexuality, urban loneliness, pornography, closeted Hollywood, redistribution of wealth, and on and on and on. Some of these are new issues, and of course some are as old as drama itself. Some resonate with the gay community more than they do with the general public. Some don't. 

But within a sexy, brief, intimate and potentially lowest-common-denominator sex fest is actually a play of diversity and serious purpose. No, it's not "Long Days Journey Into Night." But it's a hell of a lot more fun! And it's genuinely touching and thought-provoking. It didn't change my life. But the ending is not what you'd expect! And I sure had a good time. 

Director Tom Mullen and Bailiwick Chicago Executive Director Kevin D. Mayes have assembled a multi-racial, talented and, yes, attractive all-male cast. It's hard to pick any acting standouts, though one performer may have been having an off night in my book. But, if pressed, I would and will highlight the work of Cameron Harms as the conflicted soldier, Steve, CameRon Johnson as hyperkinetic Kyle, the college kid, and Christian Kain Blackburn as the simple and sweet porn star, Ryan. These three young actors each brought acting chops and commitment to difficult material--bravo to them! Their looks are like a bonus, when all is said and done. 

Older actors Thad Anzur (the married Leo), Karmann Bajuyo (Jack, his husband) and Norm Woodel (Donald, a successful journalist) anchored the show in a reality beyond the streets and bars of the stereotypical youth-oriented "gayborhood." And Arthur Luis Soria (John, the "escort"), Armand Fields (grad student Marco), Ryan Lanning (Sammy, a playwright) and Beau Forbes (a Tom Cruise-style actor, Brandon) all turned in detailed, interesting and frequently compelling performances. 

On the technical side, the simple but beautiful, clean, modern and sleek scene design by John Rotonda worked really well, with a few pieces (most notably a bed, of course) appearing in front of a wooden screen (props designed by Lee Strausburg). Lights by Jared B. Moore really set the moods and sculpted those bodies in space. And the costumes by Bill Morey looked absolutely natural, and came and went with ease. Fine, even unified design work, for which the company and the production should be proud. The original music by Laurence Mark Wythe was fine as well, though it was sometimes a little overpowering on opening night (sound design courtesy of Michael Dunbar). 

"La Ronde" has always seemed to attract liberal-minded audiences, and this boldly-titled adaptation of it certainly expects to follow that pattern. I don't think anyone who can get past the title will be offended by anything that goes on here. Nobody actually has sex. Rather, the audiences at Theatre Building Chicago (soon to be called "Stage 773") are being treated to a brief (90-minute) essay on the human condition, the ways in which we connect (or don't), couched in a veneer that will be exotic to some and thoroughly familiar to others. It's a worthwhile script, and a noble incarnation of it. How do we find the love of our life? And how do we treat them once we have found them? Aye, there's the rub. That's the ticket! Get yours today. 

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"f-ing Men" by Joe DiPietro runs weekends through July 25, 2010 at Theatre Building Chicago, 1225 W. Belmont Avenue. For tickets please call 773-327-5252 or visit www.fmenchicago.com.   

Photos: From Top: 

Ryan Lanning and Beau Forbes (Photo Credit: Jeremy Lawson Photography) 

 

Christian Kain Blackburn and Ryan Lanning (Photo Credit: Jeremy Lawson Photography)

 

Karmann Bajuyo and Christian Kain Blackburn (Photo Credit: Jay Kennedy)

Armand Fields and CameRon Johnson (Photo Credit: Jay Kennedy)

 

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