The Boys in the Band

A-

Mart Crowley’s groundbreaking 1968 play has always evoked a variety of reactions. While many praised it for presenting the first unapologetic look at a group of gay characters onstage, others condemned it because these characters displayed so much self-loathing. I try to keep in mind that the play is set at a moment before Stonewall drastically changed gay life and provided an outlet for internalized homophobia. Crowley’s characters find refuge with each other against a hostile world. I am also saddened as I think back to the original production by the knowledge that many members of the cast later died from the as-yet unknown scourge of AIDS. The idea that a 50th anniversary production would be mounted on Broadway with a star-studded cast of out gay actors would have seemed inconceivable in 1968. And so it was with a lot of baggage that I arrived at the Booth Theatre. I had forgotten just how funny the dialogue is with its many bitchy outbursts. I had also forgotten how nasty the play turns during its final third. The cast is uniformly strong. In the crucial role of Michael, the host of the evening’s party, Jim Parsons (Harvey, The Normal Heart, "The Big Bang Theory") delivers. When he turns vicious after a few drinks, it is truly shocking. Zachary Quinto (The Glass Menagerie) delivers the goods as Harold, the self-hating pockmarked birthday boy. Matt Bomer ("White Collar," "The Normal Heart") is a sympathetic — and very buff — Donald, the underachiever who stands by Michael. Andrew Rannells (Falsettos, The Book of Mormon) is fine as Larry, whose promiscuity threatens his relationship with the uptight Hank (Tuc Watkins; White Lies), who has left a wife and two children for Larry. Robin de Jesus (In the Heights) is wonderful as the unabashedly effeminate Emory. Michael Benjamin Washington (Mamma Mia!) is quietly moving as the only African-American in the group. Charlie Carver ("Desperate Housewives") is a hoot as Cowboy, the hustler Emory has bought Harold for his birthday. Brian Hutchison (Man and Boy) plays the problematic role of Alan, Michael’s college roommate, who makes an unexpected appearance. David Zinn’s (Amelie, Fun Home) bilevel apartment set is guaranteed to elicit real estate envy. His costumes are also excellent. Director Joe Mantello (Three Tall Women, The Humans) has done his usual fine work with this fine ensemble. I still have problems with some of the play’s structure. The telephone game that fills most of the last 40 minutes seems both artificial and vicious. Michael’s attempt to manipulate Alan seems out of context. However, there is no escaping how hilarious much of the play is, which goes a long way toward forgiving its shortcomings. Running time: one hour 55 minutes, no intermission.

Falsettos ** C+

When Lincoln Center Theater announced that it was reviving William Finn’s Tony-awarded musical (best book and best score), I wasn’t sure I wanted to see it again. After seeing its two halves off-Broadway when they were presented as “March of the Falsettos” in 1981 and “Falsettoland” in 1990, as well as the Broadway version of 1992, I thought perhaps it would be better to keep my fond memories and skip it this time around. Michael Rupert, Stephen Bogardus and Chip Zien were so ingrained in my memory as Marvin, Whizzer and Mendel that I could not imagine anyone else in these roles. When Christian Borle and Andrew Rannells were announced as Marvin and Whizzer, I was even more uncertain. While Borle is extremely talented, he is not my vision of a gay neurotic Jewish New Yorker; nor is Rannells my idea of a hunk. I was disappointed that James Lapine was once again directing, because I thought a new director might give it an interesting new spin. Curiosity got the better of me and I bought a ticket. As the play opens, Marvin has divorced his wife Trina and moved in with his lover Whizzer. Marvin and Trina’s young son Jason (an excellent Anthony Rosenthal) is acting out. Marvin’s shrink Mendel takes a fancy to Trina. As luck would have it, both Stephanie J. Block and Brandon Uranowitz were out the night I attended so I saw their understudies Courtney Balan and Tally Sessions as Trina and Mendel; fortunately they were both very good. After intermission we meet the lesbians who live next door, Dr. Charlotte (Tracie Thoms) and Cordelia (Betsy Wolfe). During the first act, I was fighting the disparity between the concept of the two male leads in my head and the versions embodied by Borle and Rannells. They eventually won me over. After intermission, the book becomes more involving and even the songs get better. While the plot may be manipulative, I defy anyone to keep a dry eye at the end. Jennifer Caprio’s costumes are fine. David Rockwell’s set is a puzzler. While I liked the Manhattan skyline backdrop that had several permutations, I thought that the large grey cube that dominated the set and was disassembled as needed to form various props looked cheap. For those who haven’t seen the show before, I would definitely recommend it as a time capsule of New York life in 1979 and 1981. Running time: 2 hours 45 minutes including intermission.