Newspaper Page Text
Kramer's "Heart" Sound but Sterile
Larry Kramer's The Normal Heart is a history
lesson, a love story and a morality play built of
multiple themes. AIDS, in its early days, when
cases were first appearing, brings the lights up on
this furious scrutiny of the values and validity of the
gay community as it had evolved in the fifteen years
from Stonewall to the play's beginning in 1982.
Kramer's script is searing and brutal. The essence
of its eloquence is agony draped in rage.
The Alliance production succeeds by-and-large
when judged on technical merit. The ensemble is
intelligent and well-trained. The blocking is varied
and considerate of the full
arena-the intimacy of
which works well for the
play. The set, lights and
costumes are appropriately
inobtrusive and functional.
However, there are
problems when other
standards of judgment are
employed. Director Charlie
Hensley has chosen to
explore such a narrow
spectrum of possible
realities within the confines
of the script that he has
shortchanged this ensemble
and its audience on the score
of credibility.
The love story of Ned
and Felix (Donald Berman
and David McCann,
respectively) is antiseptic in spite of a kiss in Act I
the duration of which has to be something of a man
to man record on an Atlanta stage. Maybe it only
seemed extraordinarily long - you know, like
kissing someone you don’t want to kiss. The scene
leading to that kiss, as Hensley has directed it, is an
excercise in denial. That these actors were not
directed to find methods to communicate honest
attraction for each other undercuts the development
of the action and impedes the work's thematic
development.
Otherwise, Berman’s performance as the
writer/activist addicted to confrontation, explores
too little of the character's potential. His response to
being expelled from the organization he co-founded
is confusing. The actor's failure to convey some
part of his personal pain through any emotion but
rage is indicitive of the sterile and monotonous
nature of the ubiquitous venting that drives this
production. At that moment, if at no other, even
though Kramer's writing takes Ned to the safety of
the memorized rhetoric of his one man war, there
has to be something happening within him that is
akin to agony. Rage is too easy and fails the
moment. It also fails in his food throwing tantrum.
Directing his pain toward Felix could work. It does
not, however, because it is merely repetition with
the volume turned up.
Ned's relationship with his brother, Ben (Robert
Kelly), is marginally believeable at best This is a
serious flaw because on one level Ben should serve
to objectfy Ned and his angry activist's life for the
audience - an effective convention when it works.
However, Mr. Kelly is quite a bit younger than the
script would seem to have the character be and there
is not even the slightest physical resemblance
between these two men. These handicaps weaken
the role. Also, Ben's love affair with his dream
house is not grounded in any communicated need.
Playwright Larry Kramer.
Photo by Gene Bagnato.
wmmmmmmmaa
Is he ambitious, weary, or coveteous? Like too
much of this production, there Is admirable
technique, but little in the way of growth and
discovery.
Stereotypical affectations only make a shallow
approach to this script less believable. Eddie King
as Craig with his hand-on-the-hip swish in the
opening scene and Brian Mercer as Tommy, the
self-proclaimed "Southern Bitch," are prime
examples. In both cases, less would be more.
Richard Levine as Mickey at first seems destined
for the same unsatisfying end, but in the evening's
progress, he finds an honest
subtlety. Levine's burn-out
speech is a rare moment
welcome for its complexity.
.3 Peter Thomasson as
| Bruce, a man grappling with
the competing interests of
his two lives ("straight
acting ami appearing"
business man and gay man
| / in the midst of the health
crisis), does not fare well in
L group scenes as he tends to
expand his movement
beyond the need of the
space. He is exceptional,
however, in his private
moments with Ned. In one
such moment, he subdues
an internal explosion as he
describes the illness and
death of his lover. It's a horrifying speech.
Thomasson’s communication of frustration, fear,
embarrassment, pain and grief is gut wrenching.
Joan Rosenfels as Dr. Emma Brookner, the
physician on the front line of the unfolding crisis,
manages to find more in the way of detail than most
of her male counterparts. Despite the burden of
exposition Kramer has placed in her lines, Ms.
Rosenfels manages humor and confidence. Both
are welcome. However, when she is denied
research funding the audience sees little beyond her
anger. Whatever else the actress may have brought
to the stage, a tinge of insecurity, an instant of self
examination - anything human - is lost in her high
speed roll to confront sections of the audience from
her electric wheel chair - another choice that
worked to impose denial through its expenditure of
energy better spent elsewhere.
Michael Stauffer's set is minimal if not
incomplete. Large plastic panels painted with
AIDS headlines and official statistics on the spread
of the epidemic cover two walls of the theatre. The
spray painted "graffiti" seems a poorly executed
after-thought. Too much care was taken not to
paint over the headlines - an ironic choice for
graffiti. David 0. Taylor's lighting design, gelled in
the palest of hues, illuminates a world that is cold
and stark. Jeff Cones costumes, obligatory
overcoats and all, underscore the period.
This production will be of particular interest to
anyone who felt previous Atlanta productions of
The Normal Heart were "messy" or "an emotional
train wreck." The Alliance production is proof that
the structure of the play is sound and workable. It is
also proof that extraordinary production values and
a wealth of human resources are no substitute for
this play's foremost need: a normal heart.
• Johnny Walsh
GREGORY Z. SCHROEDER
Attorney At Law
General Practice, Criminal Defense, Bankruptcy, DUI
550 Pharr Rd., Suite333
The Pharr Center
Atlanta, Ga. 30305
404-231-5991
SOUTHERN
\OCE
seeks mature and responsible salesperson
for Display Advertising
Work for yourself & for your community
Write:
The Southern Voice
P.O. Box 54719
Atlanta, GA
30308
or call Chris Cash at 584-2104
habitat haven home hacienda hovel
hotel house hideaway or hut
Whatever your dream
house may be..
V C? <7 ? <? T^yanm/Jp,!
... ••••*• * • . . . * • • •
... I would like to help you find that special
place to hang your heart,... or sell that place
your heart has outgrown.
I.AM H L R I
DIXIE CARD
, , REAL ESTATE SERVICES SALES ASSOCIATE
1)1 LREL (404)892-9900 524^4002
The National Gav & Lesbian Task Force
has an activist agenaa for gay liberation. We
work every day to create a society where lesbians and
gay men can live openly, free from violence, discrimination
and bigoted misunderstanding.
Every day, NGLTF’s programs advance gay and lesbian freedom by:
LOBBYING: Whether ifs AIDS related discrimination, or gay rights protections;
Whether opposing a judicial nomination or pressing for immigration reform, NGLTF
lobbies the federal government on the full range of gay issues.
ORGANIZING: With timely and critical projects on Anti-Gay Violence. Privacy Rights, the
Media and AIDS discrimination, the Task Force challenges prejudice with constructive
education.
RESOURCE SHARING: Our 14 years of experience and contacts are used daily to strengthen
local efforts.
Strengthen the Force that works for you!
Join NGLTF Today!
NGLTF Membership Form
I I $30 Basic Membership
f~] Monthly Pledge
j j $20 Limited Income Membership
I I $ 100 Organizational Membership
Name
Address
City/State/Zip
Telephone
NGLTF membersniD brings you 1) subscription ro our quarterly newsletter: 2) tor organizational members.
monthly organizers newsletter: 3) fhe ngnt to serve on and vole for our Board of Directors: ana 4) invitations
fo special forums and events around the country for members only.
Return Form to:
NGLTF
1517 U Street. N.W.
Washington. D.C. 20009
202-332-6483
Page 13