The Boys in the Band

When Mart Crowley's groundbreaking 1968 drama premiered, it captured a view of urban gay life at that time, while eliciting universal resonance in its profoundly poignant and richly funny story. Crowley courageously slammed open the closet door, introducing honest and sensitive depictions of gay men into dramatic literature. What a shame that in this play's first revival in L.A. in many years, its incisive themes—and its all-important time setting—are clumsily obscured. Director Jason Crain's nebulously depicted milieu robs this seminal work of its intrinsic historical context. Adding to the disappointments is an uneven ensemble effort. The subtext of Crowley's dialogue is frequently lost in superficial line readings, and the ragged opening performance was marred by sluggish cue pickups and swallowed lines.

The story involves an eventful birthday party for Harold at the Manhattan apartment of Michael. The unexpected arrival of possibly straight guest Alan and a cathartic showdown between the emotionally adrift Michael and the subtly vicious Harold yield a harrowing evening of soul-baring. Matt McConkey misses the complexities of Jekyll-Hyde party host Michael, a wannabe bon vivant crippled with insecurities. Michael's climactic breakdown doesn't click, because McConkey doesn't build up to it. As party crasher Alan—whom the dialogue tells us has just broken into tears on the phone and is extremely uncomfortable around gays—David Stanbra enters all smiley-faced and cheery, offering nary a hint of nervousness at the campiness on display. As manipulative Jewish princess Harold, Eric Roth underplays the role to a fault, glossing over the character's festering hostility. Kerby Joe Grubb does creditable work in one of the subtler roles: Michael's closest friend, Donald. Sean Galuszka and Greg Siff have good moments as warring lovers Hank and Larry. Restraining the mincing effeminacy of Emory doesn't help actor Chris Sams; Crowley clearly included this outrageous character as a key part of a diverse mix. Playing Emory's best pal Bernard, Darryl Stephens doesn't connect, particularly in his limp reaction following a supposedly devastating phone call. Dustin Varpness is bland and unconvincing as the for-hire midnight cowboy. Those who have never seen this classic play or William Friedkin's brilliant 1970 film adaptation will wonder what all of the fuss was about.


Presented by Mighty Myt Productions at the Coast Playhouse, 8335 Santa Monica Blvd., West Hollywood. April 10–May 16. Thu.–Sat., 8 p.m.; Sun., 7 p.m. (323) 960-7780. www.plays411.com/boys.