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The cast of Atlanta’s 40th anniversary version of ‘The Boys in the Band.’ (Photo courtesy Whole World Theatre)
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‘The Boys in the Band’
Aug. 7 – Sept. 13
Whole World Theatre’s Third Space
1226 Spring St.
404-817-7529
www.wholeworldtheatre.com
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HOME > SOVO SCENE > THEATER
By: JIM FARMER
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With gay audiences, “The Boys in the Band” elicits different reactions. Some view it as a landmark gay classic, while others look at it as an outdated chestnut full of stereotypes and unhappy gay men.
For those who do appreciate the show’s snapshot of gay life in the late ‘60s and early ‘70s, the 40th anniversary production of Mart Crowley’s play opens next week at Whole World Theatre.
This version takes pace in New York in 1969, two months prior to the Stonewall Riots. Michael (Charles Green) is hosting a party for his friend Harold (Dan Balmer) with their closest gay friends in attendance. Before the night that begins as quippy and cute is over, unexpected guests arrive, and the mood turns darker as the alcohol flows.
The off-Broadway production of “The Boys in the Band” opened in 1968 and became a film two years later with the original cast.
“I think the movie is the Cliff Notes version of the play,” he says. “The play fleshes out the characters.”
Green says his character is one of the most troubled.
“Michael is the most self-loathing of all them,” Green says. “I get the impression he has no self esteem and has had problems sustaining a relationship.”
THE ATLANTA VERSION INTENDS to bring out the lighter side of the play.
“It’s a party, and every party has some awkward moments,” Green says. “But the overall mood here is one of celebration.”
Green says that so many of the issues that were relevant then are still with gay men today: self esteem, religious guilt, obsession with physical beauty, open relationships.
“And of course, therapy!” Green laughs.
“I think what will surprise folks is that the play is very funny and very topical,” he adds. “Even though it was written a long time ago, I don’t think it will be viewed as a period piece.”
Ironically, director Michael Snow has seen neither the film nor any stage version. When he first started talking about the production, he heard the spectrum of opinions.
“I’ve heard all the reactions,” he laughs. “One friend told me it scared the shit out of him, and another said it was one of the funniest things he’d ever seen.”
Snow dedicates the show to Thomas Boyd, a friend who recently passed away. Boyd was a director who did a lot of work at Whole World.
“I moved away to New York a number of years ago but I wanted to work with him,” Snow says. “I read this play and was thinking of doing it with him.”
After Boyd passed away, Snow decided to come back to Atlanta and commence with the production.
When reading the script, Snow laughed about how much it reminded him of Boyd.
“He was funny,” Snow says. “He called people Mary and had a name for everyone [much like some characters in the play],” Snow recalls.
Snow admits he is excited to be able to bring the play to a generation that may have never heard of it.
“You have to look back to understand how we got here,” he says. “This show is just as important as going out to Blake’s.”
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