Strikingly presented with glossy staging, expert direction, and terrific cast, this long overdue revival of groundbreaking Mart Crowley play The Boys in the Band celebrates significant social progress achieved across the decades whilst championing the ongoing work that remains.
Such was the impact of the landmark play back in 1968 that it has been credited as contributing to the social upheaval that followed the next year in the Stonewall riots. The first play to be centred upon homosexual characters, The Boys in the Band challenged audiences with the implicit message that internalised gay self-hatred stems directly from societal hatred.
Banding together, the boys gather to celebrate the 32nd birthday of Harold, with the behaviour of snippy party host Michael degenerating as he becomes ever drunker. After a swift shared dinner, Michael enforces an excruciating game of daring telephone calls that raises uncomfortable truths and regrettable behaviour.
Watching the play today, the audience laughs at the zingers but also cannot help but be shocked at the candid cruelty the characters dish out to their close friends and themselves. The readily recognisable characters generate a natural likability that subsequently makes their caustic treatment of each other sting. That likability is enhanced here by a meticulously directed cast who clearly have developed love and affection for the characters they are playing.
Director Alister Smith has skilfully unearthed the core emotional truth of Crowley’s work, which was broadly based upon real people Crowley knew (as well as himself). Smith has his nine actors immerse themselves in their roles with a keen focus on the sensibilities and foibles of the time. Nothing is presented with even a hint of irony; no rough edges are smoothed away with a post modern lens.
A further achievement of Smith’s direction is the sheer believability of the real time party setting. The characters interact with a vivid sense of spontaneity, as though the action is simply unfolding rather than following a script. There is a palpable sense of shared friendship and understanding between the characters. Peaks and troughs of raucous humour and tender pathos are expertly charted, with the audience keenly on board for every moment.
The period behaviour of the characters is perfectly matched by the all too fabulous decor and outfits. Set designer Harry Gill has performed miracles on what is surely a tight budget, filling the Chapel off Chapel space with a deliciously stylised Upper East Side duplex. Upon blood red carpet sits custom blue velvet upholstery backed by a festive glittering sliver tinsel curtain. Functional stairs lead to an unseen second floor, while saloon doors lead to a rear kitchen, all watched over by a bold Warhol print of ultimate gay icon Judy Garland.
Gill partners co-costume designer Jessamine Moffett to outfit the nine men in suitably garish party wear. Gill and Moffett clearly convey the struggle the men face in the spectrum between being true to their nature and safely blending into society, deftly supporting each actor in their character portrayal.
Lighting designer Tom Vulcan keeps the party lighting natural in appearance, drawing in the shadows for more serious moments. Sound designer Jacke Sipcic surreptitiously supports vocal projection with gentle amplification.
Maverick Newman gives an unflinching portrayal of Michael, carefully calibrating the party host’s increasing drunkenness and not shying away from any of his rampant cruelty. Such is the quality of Newman’s work, there is still sympathy to be had when Michael ultimately breaks down in tears of helpless despair.
Giving Michael’s ex-boyfriend Donald a sweetly relaxed vibe, Jack Stratton-Smith solidly supports Newman, particularly in the two-hander opening scene. Last to arrive at his own birthday party, Harold is neatly underplayed by Mason Gasowski, the self-loathing character’s worst traits clear to see without being crudely exaggerated.
Ryan Henry brings radiant verve to adorable party boy Emory, succeeding in being highly camp without tipping over into a mincing stereotype. Unjustly subjected to physical violence, Emory garners abundant audience sympathy in Henry’s charming performance.
Stephen Mahy brings a buttoned-up conservatism in Hank, clearly conveying how the new divorcee “passes for straight.” Andy Johnston counters this with an uncompromising sense of flamboyance and sexual confidence in Larry.
Adolphus Waylee infuses Bernard with an essential backbone of iron softened by a delightful persona of easy charm. Mitchell Holland effectively captures the enigmatic nature of married man Alan’s interest in the party and its guests. Harry McGinty gamely imbues Cowboy, a birthday gift for Harold, with a palpable sense of sweetness to match the character’s good looks.
Not seen on the Melbourne stage for decades, full credit to James Terry Collective for staging The Boys in the Band. Audiences familiar with the work and its history will enjoy the chance to revisit the play, while younger audience members will be well served by this vibrantly entertaining slice of history.
The Boys in the Band plays at Chapel off Chapel, Melbourne until 15 March 2025. For tickets, click here.
Photos: James Terry, Cameron Grant