As if on cue, writer/director Del Shores' dark comedy returns amid daily news headlines about sexual scandal in the Catholic Church. Shores has described his central theme as the conflict between sexuality and religion, which certainly goes beyond a particular faith. His eloquent tragicomic parable about asserting one's gayness in the face of religious fanaticism seems sharper, sadder, funnier, and more profound than ever. Following its L.A. world-premiere mounting, launched in fall 2000, the show enjoyed a run in Dallas and now makes a pilgrimage to its birthplace with renewed vigor.
Wisely chosen dialogue cuts tighten the show, most noticeably in the second act, and the religious symbolism has been heightened. The tone now seems to lean more toward the "tragic" side of the tragicomedy equation, though the ending is still one of hope. Shores employs gospel hymns, strip and drag numbers, shifts in time, and a presentational style to energize a sardonic story that's as sidesplitting as it is heartbreaking. Partly autobiographical, the play traces Shores' life as a closeted gay youth in a stifling Texan Baptist community.
Four boys make this treacherous journey in Shores' narrative, with three of the roles now recast. The cheeky narrator/ main character is Mark, played by a still-sublime Robert Lewis Stephenson. Mark's homophobic would-be lover T.J. is now played by Ted Detwiler, who brilliantly illuminates the macho hang-ups that entrap this character. The audacious drag performer Benny (aka "Iona Traylor") is now played—and superbly so—by Scott Presley, who is pure hilarity until his devil-may-care persona succumbs to the same inner demons and vulnerabilities that haunt the other boys. Finally, there's the tortured Andrew, now played with remarkable sensitivity by Tommy Woelfel; Andrew prays for "it to go away" while stashing Playgirl magazines in his bedroom.
Shores has a knack for eliciting naturalistic characterizations, and the shining light of this fine ensemble remains Leslie Jordan, with his seriocomic portrait of the swishy, quick-witted barfly Peanut. Jordan nails bitchy punch lines with the precision of Jack Benny—or perhaps a pile driver—and makes instantaneous segues to heart-wrenching poignancy. His bar-buddy cohort Odette is now played by Dale Dickey, whose finely nuanced funny/sad portrayal is wonderfully effective.
Among other returnees, Newell Alexander still evokes chills as the fire-and-brimstone preacher, and Rosemary Alexander remains a powerhouse of versatility as the mothers of all the boys. Joe Patrick Ward continues as the spirited piano accompanist (alternating with Dave Manning). If we can make an audacious suggestion, Shores' gorgeously lyrical work, which already pulsates to a vibrant musical beat, seems a great candidate for a new book musical.
"Southern Baptist Sissies," presented by Delane Productions at the Zephyr Theatre, 7456 Melrose Ave., Hollywood. Thurs.-Sat. 8 p.m., Sun. 7 p.m. Apr. 19-June 9. $20-25. (323) 655-8587.