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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