THESE ARE A FEW OF MY FAVORITE ... PLAYS (the top 10) PART 2

THESE ARE A FEW OF MY FAVORITE ... PLAYS (the top 10)

PART 2

In an earlier post, I highlighted my top ten plays ranked 6-10. Today, I'd like to complete the top ten list.  Let's dig right in.

# 5 - THE BOYS IN THE BAND by Matt Crowley

December, 1969. Make no mistake, this often-maligned play is a landmark in the oeuvre of gay-themed theatre. When it premiered in 1968 it boldly went where no play had gone before, to paraphrase the "Star Trek" catchphrase. Of the nine characters, eight are gay; the ninth is perhaps, but not likely, bisexual. Crowley's play is loaded with zingy one-liners, outrageous campiness, heart-breaking sadness and in the case of Harold, the birthday boy, a resigned acceptance that borders on courageous. Critics carp about the self-loathing and the stereotypes portrayed, but for many gay men of my generation, this was the first time we saw men like us on stage, portrayed for the most part, as real human beings, elevated theatrical emotions notwithstanding. It's a true classic that still holds up today. This production was the First National tour replicating the look and feel of the Off-Broadway original with a talented cast of actors. As a 19-year-old boy bordering on manhood, this was all rather exhilarating. - at the Studebaker Theatre, Chicago

 # 4 - LOVE! VALOUR! COMPASSION! by Terrence McNally

July, 1995. I saw Terrence McNally's Tony-winning play just a few weeks after Steve died of AIDS. Quite possibly this wasn't an ideal choice, but then many of the shows I saw that summer slammed me in the gut with their emotional impact. Like Matt Crowley's The Boys in the Band, McNally's play is loaded with emotion, terrific one-liners, and acceptance that, in this case, is courageous. Some of the character types in Boys have been updated and modernized, but the struggles and triumphs of the men of both plays remain timeless. This was a stunning production, with Joe Mantello directing  a stellar cast: John Glover (simply amazing in his Tony-winning dual role as John and James), Stephen Bogardus, Anthony Heald, Randy Becker, John Benjamin Hickey, Justin Kirk and Mario Cantone in a sensational turn as Buzz. (What in God's name were they thinking when they cast Jason Alexander in the film? Really? Jason Alexander? Spare me.) In my humble opinion, this very well could be the talented Mr. McNally's masterpiece. - at the Walter Kerr Theatre, New York

# 3 - PACK OF LIES by Hugh Whitemore

Of my top ten plays, this is the only one I have never seen a production of, professionally or otherwise. I truly hope to remedy that one day. I've been after Bob to direct it for years. I discovered this wonderful play first as a featured selection of the still-lamented Fireside Theatre Book Club. Shortly after its Broadway engagement, it was made into an excellent Hallmark Hall of Fame movie starring Ellen Burstyn and, in a surprisingly multi-faceted performance, Teri Garr. On the surface, this is a nifty (and somewhat talky) British play about espionage in the Cold War era. But it's much more than that. I believe it's really a play about friendship. What constitutes it; what the betrayal of that friendship does not only to the physical friendship itself, but also to the emotional fabric of the people involved. Add in themes of patriotism, treason and keeping secrets from the people closest to you, and, well, that's quite a potent mix. Pack of Lies premiered in London in 1983 during a resurgence of the Cold War after years of détente. It was timely then and perhaps it's even timelier now post 9/11 with the Patriotism Act, the Edward Snowden affair and the general unease of secret surveillance, real or imagined…all of them raising into question the very ideas that form the core of this play. It's time for a major revival. I can picture Debra Monk and Christine Baranski kicking ass in the leading roles.

# 2 - BURNING BLUE by D.M.W. Greer

August, 1995.  FULL DISCLOSURE: I saw this play in the middle of my "Lick My Wounds" tour, the name I gave to the 6-7 week trip I took to Hawaii and the UK to pull myself together after the devastation of Steve's death two months earlier. In Hawaii, a favorite vacation spot for us, I scattered Steve's ashes in the Pacific from our favorite beach on Molokai. From there I flew to the UK to spend time with four of my dearest friends in London and Sidmouth. I will be forever grateful to them for putting up with me and letting me be the complete emotional mess that I was. Some history: in 1995, AIDS and AIDS-related deaths were, sadly, still going strong. AZT had proven to be pretty ineffective for most people and antivirals were still on the horizon. Plays with AIDS as a major theme were numerous and had evolved over the years from the political anger of pioneering works such as The Normal Heart and As Is to works that focused more on the people involved and affected by the disease rather than the politics. So, in a nutshell, this is sort of where I was at emotionally when I saw this play. Now on to the play itself…

This play was written in 1992 when witch-hunts to root out gays in the military were all too common and a year or so before the odious DADT took effect. This play about U.S. Navy aviators focuses on one such witch-hunt, but it's much more than that. It's about discovering that the world you've dreamed about and given your everything to is at odds with the person that your heart tells you you are. It's about relinquishing that life to become that person. It's about friendship and how friendships can be tested when there are secrets and a lack of honesty, no matter how well-intentioned. (A theme also explored in Pack of Lies.) And finally, it's a play that ends in hope. Admittedly, burning blue can sometimes get a bit preachy and dogmatic, but the raw honesty that is the foundation of this play would make this a top ten in any situation. What made this #1 for so long and currently #2 is a moment in Act Two when Dan, a gay F-18 pilot, clutches to his chest a boombox that belonged to Matt, a Navy pilot recently killed in a midair collision and the man Dan loves, and breaks down into raw and total grief. The scene completely took my breath away and left me so visibly shaken that my friend Rob instantly took my hand and just held on as tears ran down my face. I have rarely been so emotionally devastated by a single, understated and beautifully staged moment. I would be remiss if I didn't mention the outstanding cast that brought this marvelous play so vividly to life. Things may have changed over the years and the repeal of DADT in theory got rid of the witch-hunts, but this play still packs a powerful and emotional punch. - at the Theatre Royal Haymarket, London

# 1 - NEXT FALL by Geoffrey Nauffts

February, 2010. I will agree that this is not the best play ever written. Sometimes it tries too hard to be funny; sometimes it tries too hard to make a point and with a less than terrific cast, it could easily revert into cheesy, maudlin moments. What it does have, however, is an unwavering belief in its flawed, human characters and an unwavering belief that we, the audience, will want to join them on their journey. And that unwavering belief is justified. It's a story about love and family and friendship. It's about being gay and being gay while at the same time being deeply religious. It's about not being out to your family. And, for this is not necessarily a happy play, it's about death. The characters make us angry at times, make us cry at times and make us laugh quite a lot. Writing for the stage is, for lack of a better word, theatrical normalcy, but somehow Mr. Nauffts makes his dialogue effortless and natural. Thanks to the exceptional cast of Patrick Breen, Maddie Corman, Sean Dugan, Patrick Heusinger, Connie Ray and Cotter Smith, I was deeply moved and felt a connection with each of their characters. Sheryl Kallner's direction was seamless and the production design was outstanding. Next Fall is my current top play because it is flawed and imperfect, yet it resonates with a humanity that is what great theatre is all about. - at the Helen Hayes Theatre, New York

There you have it. My top ten plays. In another post, I'll reveal my "honor roll" plays that complete my top twenty-five. So as a recap, the top ten plays:

#10 - The History Boys

#9 - The Laramie Project

#8 - Who's Afraid of Virginia Woolf?

#7 - My Night with Reg/The Day I Stood Still/Mouth to Mouth

#6 - Take Me Out

#5 - The Boys in the Band

#4 - Love! Valour! Compassion

#3 - Pack of Lies

#2 - Burning Blue

#1 - Next Fall

Until later! Don't forget to see some live theatre this week.