University of Virginia Library

STAGE

Deserving Special Kudos

By PAT PRINZ

In his review of a revival of Mart Crowley's
comedy about homosexuals, The Boys in the
Band, N.Y. Times critic, Clive Barnes,
remarked that in a few short years the play
had become somewhat antiquated. Watching
the Virginia Players' production of this play
on Monday night I found myself in
agreement with Barnes' observation.

In 1968, the controversial subject matter
and the raciness of the dialogue masked
inherent weaknesses in the script that are all
too apparent five years later. The Freudian
explanations for the homosexual
phenomenon offered by Crowley are simply
too facile, the scope of the characterization is
often too limited, and the sentimentality is
often embarrassing. While the first act of the
play is witty, intelligent, and
well-constructed, the second act often drags
badly. This is particularly true in the
game-playing sequence which draws heavily
on Who's Afraid of Virginia Woolf but which
is not nearly as dramatically sound as the
Albee piece.

But the Virginia Players' production,
which opened Monday night in Minor Hall,
directed with tact and care by Jim Jontz, and
sensitively acted by a fine cast, manages to
make the audience ignore, if not entirely
forget, these weaknesses. I cannot say enough

about Mr. Jontz's direction. The show is
beautifully cast, both physically and
temperamentally, and the characters
themselves are interpreted unerringly.

With the exception of the beginning of the
second act (and this due more to flaws in the
writing than in the directing) the play is
exceptionally well-paced. Mr. Jontz's smooth
transitions between the quiet and raucous
moments in the play are particularly
noteworthy. Finally, Mr. Jontz positions his
nine actors superbly at all times and this is no
mean feat. There are several times when all of
the characters are on the stage at the same
moment, and Mr. Jontz has obviously devoted
a great deal of thought to achieving just the
right balance of his actors on the stage, while
also avoiding any attendant sense of
artificiality.

George Black's set is just what it should
be. Carefully designed with respect to width
and depth, with suggestions of areas beyond
the stage, it gives the proper effect of a
spacious New York apartment. And finally a
contemporary play in Minor Hall receives the
correct interior decoration. All of the set
pieces are selected with discretion and
attention to the central character's taste. Nor
does the set ever appear cluttered, in spite of
the fact that several of the set pieces are fairly
bulky. I appreciated the concern with detail
that obviously went into the set also. The
framed Follies poster hanging in the
bathroom was just perfect, for example.

Without proper control exerted by the
director and the act e Boys in the Band
can easily become mawkish in the true soap
opera style. Overplaying, particularly in the
second act, will simply kill this play. All of the
actors in this production exercised admirable
restraint in their portrayals. Several deserve
special kudos for delivering some of Crowley's
more maudlin dialogue with dignity and
honesty.

One of these is Carl Beck who, as Michael,
carries a good part of the show on his
shoulders. Beck's Michael has all of the
intelligence and sophisticated veneer that the
part demands, while never permitting the
suggestion of the troubled and unhappy
Michael to be lost in the witty repartee. He
wisely underplays Michael's more self-pitying
moments, making them more palatable than
one would believe possible.

Donald, quietly and nicely played by
Steve Nunnally, serves as an effective
counter-foil to the high-strung Michael.
Emory, the interior decorator who would
"make someone a wonderful wife" is superbly
acted by Ray Berry. Emory is not an easy
part to execute. It demands impeccable
timing and the ability to suggest the loneliness
and rejection that have been an integral part
of Emory's life since childhood. Mr. Berry is
more than equal to the task. His narration of
his unconsummated relationship with the
callous Dr. Botts is one of the high points of
the production.

Pat David as Larry, F. Guthrie Gordon as
Alan, and Peter Dieroff as Harold all act their
parts with fine style. Mr. David is to be
especially commended for getting through the
menage a trois discussion with Hank, one of
the more embarrassing moments in the play,
gracefully.

J. Taylor as Hank, Quince Gilbert as
Bernard, and Andy Wiesnet as Cowboy all
started rather slowly but improved steadily
during the second act. Mr. Taylor was a bit
too loose and animated as the solid and quiet
Hank at the onset of the play but was in good
form in his scenes with Larry in the latter half
of the production.

There were a few problems with
everyone's volume on opening night, and
often lines were lost when actors neglected to
hold for laughter. I'm sure this will be solved
when the actors have a better sense of when
audience reaction will come.

There is one problem which ought to be
solved, particularly in this production which
has obviously paid loving attention to realistic
detail. After Emory is hit by Alan there isn't a
mark on Emory's face, even
though Harold remarks that his
face is a mess. And the stain on
Emory's shirt is too artificial.
Some make-up and a judicious
use of stage blood would be
appropriate here.

If you haven't already, I
would advise that you purchase
your ticket now to see what
gives every indication of being,
and deservedly so, one of the
most successful productions of
the Virginia Players.