Review: 'THE BOYS IN THE BAND' at Palm Canyon Theatre

Matt Crowley’s play “The Boys in the Band,” with its shocking drama and dark camp, was hard to top when is first bowed off-Broadway in 1968 . Written prior to the Stonewall Riots and well before the ravaging AIDS epidemic, this play was often ascribed as “terrifying”, since it exposed the self-loathing and psychological damage gay men felt in their then-tiny corner of the world. This was the late 1960s, the now recognized LGBTQ+ community was not permitted to be depicted in general society in any way other than as a darkling villain or as ridiculous comedic relief. Crowley’s play had to speak to all the hidden issues of the time surrounding life in the fugitive gay community.  But the world moves fast, the year after its Off-Broadway run, the Stonewall Riots occurred, thrusting gays out of the shadows in the media and empowering them with righteous rage and a new found strength to stand up for themselves amongst the tumult and upheaval of the broader civil rights movement of the same time period.  Almost overnight, the themes of “The Boys in The Band” shifted, depicting a trope of homosexuals that was a wildly out-of-date relic of a more repressive time. Modern day incarnations of the story, on stage and on film, frame this as a period piece, not meant to represent gay life today but rather a reflection of its more secretive origins.

Director Eric Stein-Steele has created a work of intensity and blistering character work.  To be clear, this is a gay story, seen through a gay lens without defensiveness, apology or self-justification.  The “straight” world really doesn’t exist in this universe, which is unique and a little disorienting for the uninitiated.  But that was rather the point. Mr. Stein-Steele’s hand was also seen in the dual level loft apartment set design which qualifies as its own character.   Bedecked with impressionist and cubist male nude portraits on the walls, the bi-level of the set allowed for a lot of movement, naturalistic breakout scenes that did not require spotlighting to establish an “alone” space.  It allowed a true lived-in experience including seeing a non-sexualized moment with Donald (Ron Coronado) baring it all for something we all do daily, taking a shower.  JW Layne’s lighting kept with the natural manner of the loft, no special effect tricks needed.  Nonetheless, it was effective, keeping the audience focus where it truly needed to be.  Michael Hadley’s sound design was era appropriate, crisp and everyone could be heard without any untoward technical mayhem.  Derik Shopinski’s costume design put us firmly in 1968 yet with flair touches that tell us of gay fashion artistry that they could only sport amongst each other.  The suit which the birthday boy arrives in is one of the biggest excesses that yet, feels home here.

The main conceit for the play is the hosting of a birthday party for the hedonistically inclined Harold (Rod Kreisinger Denk). Party host Michael, played by Kam Sisco, is a flash-in-the-pan one time screenwriter.  Conflicted is his main driving dogma.  Whether it is his obsession with sweater changes, his obscure classic movie quotes,  his sharply barbed self-deprecating humor (which is still really funny) or his warped adventures in relationships (of any sort), Michael is a mess.  His modus operandi seems to be “the best defense is good offense”.  He takes as good as he gives in the devilishly snarky repartee department.  Mr. Sisco shoots out his barbed charges and delights in seeing them explode.  With a wink to the world and a flourish, he delivers a truly crazy human. His relationship of the moment (not quite a partner but not a one-time fling either) is Ron Coronado’s Donald.  Neurotic and terminally nervous, Donald is nonetheless a foil for the more gregariously wretched Michael.  These two lob loaded comments at each other as a balletic artform.  Frothy queen of his own making Emory, played with delicious abandon by Larry Martin and his paramour Bernard, played by Dwayne Arvinger arrive and the party really gets started.  Mr. Martin takes flight with his creation, with energy and humor.  Mr. Arvinger has the unenviable task of countering the excesses of Amory which he does with grace and a lower keyed persona.  When the alcohol starts to break through that exterior, we learn the pain he endures, often at the hands of who he loves most.  I will warn that, as a period piece, there are quite a few (what we would now consider) homophobic and racist epithets used in the show.  Understanding time, place and context (as in all things) is necessary.  Partners Larry, played with rascally charm by Adam Heiter and the more strait-laced Hank, played with great depth by Luke Rainey enter next.  Larry is as anti-monogamous as can be where Hank is quite the opposite. In my viewing, it seemed that Hank had the highest stakes, as he gave up a heterosexual marriage and family to live his authentic life with Larry.  I also found him to be the most empathetic character, knowing what he lost and why, yet committing to someone who doesn’t seem to (outwardly) share that commitment.  Amory’s “Birthday Present” was in the form of a young street hustler known here as Cowboy, who is portrayed with charisma by Sebastian Reda.  Written as a bit of outsider comedy and definite eye candy, Cowboy gives credence to the phrase, “It’s a good thing you’re pretty!”  Not a lot going on upstairs, Mr. Reda’s character seems to relish that his lot remains as a below stairs denizen.  When the birthday boy, Harold, here played with a glint in his eye for trouble by Rob Kreisinger Denk, arrives (unfashionably late) the fireworks really go off.  Mr. Denk’s characterization pours gasoline on this house fire, nobody survives!  Glib, witty and unremorseful, this role is an unwitting truth teller in this house of obfuscation and coded warfare.  The final character is the odd man out, Michael’s old college chum Alan, who is straight, married and morally opinionated.  Brent Anderson takes on a role which is at all points uncomfortable and unsure of their reality. I’ll admit the role is probably the thinnest of the ensemble, more a plot device than anything.  Mr. Anderson turns in a performance making the most of it.  It is never quite revealed why he suddenly reached out to the protagonist Michael nor why the urgent meeting. But talk about throwing the proverbial Daniel into the lion’s den!  The mind games come to fruition with Alan’s introduction and boy are they quite the Circus Maximus!

For gritty drama, campy humor and gut rattling pathos told from a unique point of view, “The Boys in The Band” will put you through a night you won’t soon forget! The production run one more week only, Thursday at 7:00p.m., Friday and Saturday at 8:00 p.m. and Sunday at 2:00 p.m. through Sunday, April 21, 2024. Tickets can be purchased at www.palmcanyontheatre.net or by calling (760) 323-5123.

Next up on Palm Canyon Theatre’s remaining 2023-24 season slate:

The Light in the Piazza (May 10-19, 2024) Based on the 1960 novella by Elizabeth Spencer, the show is set in the 1950s in Florence, Italy. Margaret Johnson, a wealthy Southern woman, and her daughter Clara, who is developmentally disabled. When Clara falls in love with a young Italian man, Margaret is forced to reconsider not only Clara's future, but her own deep-seated hopes and regrets as well.

Bye Bye Birdie (July 5-14 2024) Set in the 1950s, this story is reminiscent of the King of Rock. A songwriter finds himself in trouble when the rock and roll teen heartthrob he writes for, Conrad Birdie, is drafted into the Army. As a publicity stunt to record and sell one more hit record before he is sent overseas, a televised farewell is planned with Birdie set to kiss a preselected All-American girl.

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