Love is Love is Love

Hurricane Damage – Pride Films and Plays 

 

Kevin Brofsky, a playwright with over 50 one-acts to his credit, makes his Chicago PF&P debut with this two-act drama set near the Gulf Coast, in Dunedin, Florida. The story is especially noteworthy because, unlike the majority of LGBT plays and musicals, Brofsky’s play focuses on three older gay men. Younger characters, more often than not, take centerstage in the majority of gay comedies and dramas; thus, Brofsky’s play is a breath of fresh air and a unique addition to the growing canon of theatrical literature. In addition, Artistic Director David Zak was particularly wise to select Kevin Brofsky’s script to be included in his PAC Summer series because it balances with the other four selections, especially offering a fine companion piece to play alongside “Holding the Man.”

The lights come up, at the top of the show, on what remains of a modest two-story cottage that’s been recently ravaged by Hurricane Gilda. Ford Angel, a hunky, young handyman, is outside surveying the damage and assessing what needs to be done. Ford looks up to discover a “handsome daddy,” armed with a camera, photographing him as he removes his shirt. Hoping to taunt the man, Ford also loosens his belt, drops his pants and moons his stalker. But the photographer is undaunted and happily continues snapping away. 

When Ford returns inside the house he greets his two employers, Dennis and Oscar, and humorously shares his adventure with them. While Dennis and Ford work together removing the protective coverings from the furniture and tidying up the place, the audience learns all about the older couple’s long run together. They met in NYC during the nonstop party that was the 1970’s. Dennis was a dancer, with ambitions to be on Broadway; Oscar was his ardent admirer. The two became a couple and, when AIDS began to decimate Manhattan’s gay population, Oscar suggested they move to Florida. He had been called there to look after his sick mother. When she passed away she left her house to Oscar and Dennis. Now, suffering from diabetes and other ailments, Dennis cares for his longtime companion.

The years have brought both Dennis and Oscar, his older partner, the usual health problems associated with aging. But while Oscar often sees the positive in life, Dennis has grown bitter and cynical. He continues to mourn the glamorous party life and show biz aspirations he left behind in the Big Apple, as well as the fond memories of old friends who were lost to “the gay plague.” Dennis’ growing antagonism toward Oscar flows from his need to blame someone for his less exciting life. He holds his partner responsible for taking him away from all the action and enchantment of the city, burying him amid the boring senior citizen communities of the Sunshine State. 

When Norman Norwood, a close friend from New York City’s good old days, pops in to surprise Dennis and Oscar, Ford is equally surprised. He confesses to his employers that this is, in fact, the very photographer he met outside earlier who was taking pictures of his handsome, ripped body. It soon becomes apparent that Ford isn’t as offended by Norman’s attention as he is flattered and, perhaps, just a little titillated. 

The older men spend time reminiscing about forgotten friends and their glittery life in New York before and during the AIDS pandemic. Oscar suddenly discovers that one of his treasured books of nude male photographs is actually the handwork of his old buddy, Norman. All the while memories are shared and the story plays out, Oscar continues searching the house and garden for his lost cat, Pyewacket. She’s been known to hide during inclement weather, so Oscar’s optimistic that his pet is still cowering somewhere nearby. 

But the devastation unleashed by Gilda has damaged far more than Oscar and Dennis’ house. Long-running arguments between the couple surface and continue to rage and grow in strength until Dennis finally storms out of the house with Norman, leaving Oscar alone with Ford. While the young man fixes his friend some breakfast, Ford reveals a secretly hidden stash of forbidden Milanos. Oscar enjoys his contraband cookies as he muses about the trials and tribulations of growing old with someone you love. Ford’s belief is reaffirmed that Oscar and Dennis are, indeed, meant for each other. They’re a loving couple—two devoted, longtime partners whose relationship is able to weather hurricane damage, life-threatening illness, regrets of a forgotten past and a preoccupation with cleanliness.

Paul Cook directs his production with a great deal of heart and care, staging the play perfectly for the Broadway Theatre’s V-configured audience space. He’s managed to coax some especially fine performances out of each of his four actors. Although, while the overhead fans blow much-welcomed cool air throughout the audience, it’s often difficult to hear or understand Brofsky’s deliciously detailed dialogue. 

Newcomer Jesse Montoya makes a strong debut with PF&P as Ford. He uses his buff body and boyish grin to full advantage, making the 20-something caretaker a charismatic, friendly and believable character. Hopefully audiences will get to enjoy this talented, young actor again in future productions. PF&P Ensemble members Charles Berglund and Tom Chiola are both excellent as Dennis and Norman, respectively. Each provides exactly what’s needed in his individual role, with Mr. Berglund playing a seething volcano of anger and regrets, and Mr. Chiola providing a joyous, amiable breath of fresh air from his friends’ past. The deserved recipient of the award for Best Actor at the recent Dublin International Gay Theatre Festival, for his portrayal of Tennessee Williams, Danne W. Taylor brings his grand stature, expressive face and magnificent vocal talent to the role of Oscar. Taylor’s performance is, once again, luminous.

 The final scene is the crowning moment of this play. It’s both humorous and heartbreaking as, urged by Norman, the three Floridian friends reluctantly agree to shed their clothing, their inhibitions and and all their differences for a group photo of three generations of gay friendship. It beautifully sums up the message of the entire play and leaves the audience with a tableau that visually depicts, as Lin Manuel Miranda said, “Love is love is love.”

Recommended

Reviewed by Colin Douglas                 

Presented August 3-26 by Pride Films & Plays at The Broadway Theatre, 4139 N. Broadway, Chicago.

Tickets are available in person at the box office, by calling 866-811-4111 or 773-857-0222 or by going to www.pridefilmsandplays.com.

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