A Tragic Love Story from Down Under

Holding the Man – Pride Films and Plays

 

After playing for several years at Sydney’s Griffin Theatre Company in Australia, and eventually having its American premiere in San Francisco in 2007, Chicago finally has an opportunity to experience Tommy Murphy’s 2005 theatrical adaptation of Tim Conigrave’s tragic, 1995 autobiography. The story of Aussies Tim and John Caleo, the love of his life for over 15 years, is filled with all the excitement of adolescent sexual awakening, the awakening thrill first love and then the restlessness that sometimes sets in when one feels trapped by a monogamous relationship. All of life’s gateposts are played out against the early years of the AIDS pandemic, when this devastating disease was still a medical mystery. By the shattering, emotionally draining final moments of this drama, both young men, just in their early 30’s, sadly lose their battles with HIV infection. 

Conigrave’s intimate memoir, the basis for this play as well as the popular 2015 film, which Murphy also adapted for the screen, was published in 1995. It hit stores just days before Tim Conigave died of AIDs related causes, following the death of his husband, by two years. The horror of contracting HIV/ AIDS and the reality of its inevitable death sentence still loomed over the world at that time, particularly among the world’s gay population. In fact, despite recent medical advances in drugs that help prevent the disease-causing agent in people who haven’t already been exposed, this isn’t a “disease of the past.” There are still a considerable number of diagnoses being made each day; thus, the spectral presence of HIV/AIDS still haunts the world.

The play opens on young Tim, experiencing his first thrill of contact with a school friend. It moves on to his high school years when, during the 70’s, Tim notices and becomes infatuated with a handsome young sports hero named John. The piece continues to play out episodically, evolving chronologically through the 80’s and into the early 90’s. This structure feels choppy, like viewing photographs from a photo album or film clips from a longer feature movie. Theatergoers may find it difficult to become emotionally involved with the two main characters because the playwright has created such a disconnect for the audience. Just when we begin to enjoy, understand and empathize with Tim and John, the scene abruptly ends, costumes are changed and new set pieces are rolled out. Suddenly we’re thrust into a new episode with different supporting characters. Tommy Murphy’s script, in fact, is almost like two separate plays. While the first act is lighter, warm and full of heart, offering a great deal of comedy, the second act is far more serious, somber and, ultimately, quite devastating.

That’s not to say that guest director Michael D. Graham’s production is unsuccessful with this script. He nicely stages the play in the Broadway venue’s intimate space that also houses several of the five plays that comprise PF&P’s PAC Pride Fest. Working with Evan Frank’s modest scenic design, he utilizes two movable screens, a few pieces of furniture and a long, wooden staircase, leading up to a balcony. In this, Graham manages to keep his production in continual motion. Much to his credit, Graham manages to elicit strong performances from his entire eight-member cast. Long after spending two-and-a-half hours with Tim, John, their parents, friends and other characters, theatergoers will most certainly find themselves haunted by this story and the lesson it imparts. 

Now, it’s not like this is a new kind of tale crafted for the theatre. William M. Hoffman’s “As Is,” and musicals, such as William Finn and James Lapine’s “Falsettos” and Jonathan Larson’s “Rent” come to mind. Tony Kushner’s epic, two-part “Angels in America” may be considered the genre’s magnum opus; while Larry Kramer’s excellent, classic, “The Normal Heart,” could be considered the American version of Murphy’s play. But, despite problems with a script that’s almost cries out to be cinematic, the emotional impact felt in the story of these two real-life men is palpable. The authenticity and the audience’s ability to relate to so many moments in this play add extra immediacy and heartbreak.

The cast is led by two handsome, talented young Chicago actors. As the play’s tragic, young narrator, Micah Kronlokken does a stellar job in the difficult role of Tim. So memorable in Akvavit Theatre’s “GHOSTS & Zombies,” as well as having appeared in a number of productions at Lifeline Theatre, Mr. Kronlokken is appealing and blithely youthful, both as a high school student and a college student studying acting. Seldom ever offstage, he seems to actually mature from a likable, puppy dog of a teenager into a free-minded young adult, right before our eyes. The result of Tim’s devil-may-care lifestyle choices, along with the seriousness of their outcome, combine to evolve into a gravely earnest young man, by the end of the play. However, one element is continually at the forefront of this actor’s performance, and it drives his character throughout the story: Tim’s ongoing and constant love for John. 

Mega-talented Chicago actor Jude Hansen is mesmerizing as John. Mr. Hansen, unlike his fellow cast mates, didn’t have to work very hard to master an Australian accent, since he’s a native of Melbourne. This accomplished young artist from Down Under may be remembered for his powerful performances in PF&P’s “Angry Fags” and “Some Men.” Although Murphy didn’t write the role of John with as much power and dimension as Tim, Mr. Hansen quietly inhabits this character, making every word and movement resonate as much as those of his lover. Each choice and nuance is memorable and important to the story of these two tragic and touching characters. The gentle first kiss that breaks the ice, John’s calmly excited response to Tim that they date, the reserved way John agrees to their first sexual encounter, and then later to take a break from each other, all build into the loving, multilayered individual that only Mr. Hansen could create.

Much credit goes to the six-member ensemble, each of whom portrays multiple characters of assorted ages and genders. They include Cody Dericks, Alisha Fabbi, Mikey Gray, Bryson David Hoff, Alexander McRae and Jordan Moore. Kudos to Saren Nofs-Snyder for her superb dialect work with this cast. Cody Von Ruden evokes just the right look and spirit of the late 20th century with his costume design, particularly the school uniforms and appropriate undergarments. And Becs Bartle and Isaac Mandel have both managed to give this production added sparkle and pizzazz with their excellent lighting and sound design, although at times it’s difficult to hear the actors over the pulsating disco music. 

There have been many, even more familiar and successful plays written about gay lovers. Often they include warnings about the dangers that may arise from having multiple sexual partners and unprotected lovemaking, as well as the horrendous devastation that was, and continues to be, the result of the HIV/AIDS epidemic. But knowing that Tim and John, the two main characters of this Australian story, were actual, real-life young men, cut down in the prime of their lives, makes this play that much more sad and agonizing. Given a sensitive, very adult treatment, as part of David Zak’s repertory Summer Pride Fest, this production can be enjoyed on two levels. First, it’s bound to bring back a few tender, even painful memories to some audiences, while bringing to life one of the most tragic chapters in LGBT history for those too young to have experienced it firsthand.

Highly Recommended

Reviewed by Colin Douglas  

  

Presented August 5-26 by Pride Films & Plays at The Broadway, Pride Arts Center, 4139 N. Broadway, Chicago.

Tickets are available in person at the box office, by calling 866-811-4111 or 773-857-0222 by going to https://web.ovationtix.com/trs/pr/989529.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.