Out of the Closet

Sons of Hollywood – Windy City Playhouse

It’s fair to say that most audiences who attend this “Play With Music” will have never heard of movie star, Ramon Novarro. But playwrights Barry Ball and Carl Menninger have done their research. They’ve delved into the lives of both Navarro and his best friend, Billy Haines, then added in the character of co-star and mutual friend, Lucille LeSueur (who would later be known as Joan Crawford). They’ve spiced up their story up with enough fiction and fantasy to add a degree of dramatic cohesiveness and sufficient sexual titillation. The result is an entertaining full-length play set primarily in the world of silent films and the early talkies of the 1920’s and 30’s.

The play begins in 1925, when Ramon Novarro and Billy Haines were both silent screen actors. A California transplant, Ramon was a Mexican-American young man, raised within a large, Catholic family in Los Angeles. As he gradually made his way into the Hollywood film industry, Ramon was often conflicted by his attraction to men and his Catholic upbringing. After he met Billy Haines, they became lovers and then best friends. Both actors were under contract with MGM, where Ramon became involved with famed screen actor, Rudolph Valentino. Following the star’s death, Novarro was suddenly elevated to stardom when he played a significant role in the silent film, “Scaramouche.” But his big break in film came when Ramon starred in the title role of the original classic silent version of “Ben Hur.”

Billy and Ramon were both making a comfortable living and enjoying the hedonism of an openly gay lifestyle. Conservative America already considered Hollywood a morally questionable cesspool of sin. But, in the 1920’s, following a number of especially sensational scandals that rocked the film capital, the former head of the Republican National Committee, proposed a strict, new code of ethics and censorship, in order to clean up the films and rein in the people who made them. Suddenly Louis B. Mayer was calling promiscuous actors, like Ramon and Billy, into his office, warning them to deny their homosexuality, curtail their wild exploits or be fired from MGM. Haines chose to quit the film industry instead of giving up his way of life; Novarro made an effort to adhere to the new standards, but in the end his contract simply wasn’t renewed.

Billy was in a longterm relationship with a handsome young sailor he’d met in New York City and he wasn’t about to end it. He and his life partner, Jimmie Shields, decided to go into the interior decorating business. Their clients included high-paying movie stars, like his friend Joan Crawford, as well as former film star and newly elected California Governor, Ronald Reagan. Ramon, who had successfully transitioned into talking films, played romantic Latin lovers and swashbuckling action roles, before he gave it up in 1935. He enjoyed a short relationship with handsome Hollywood columnist Herbert Howe, who became Ramon’s publicist, but the affair didn’t last. Novarro eventually did some theatre roles and just enjoyed his life as a wealthy, one-time celebrity. Having accumulated so much money from his films, Ramon had plenty of disposable income. He became an alcoholic and indulged in paying male prostitutes for one night stands. Sadly, in 1968, Ramon was murdered by two of his tricks, who wrongly thought that Novarro had hidden thousands of dollars somewhere in his plush home. It was a tragic ending to a sad life.

Beautifully directed by David H. Bell, the play takes on the golden glow of an old Hollywood movie. Staged on multiple levels of Lauren Nigri’s gorgeous, palatial scenic design, the story flows almost seamlessly from scene to scene. Anthony Forchielli’s soft, romantic lighting enhances each moment with its diffused illumination. Costumer Sydney Moore has designed an array of sumptuous period wardrobe pieces that are rich-looking, colorful, well-fitting and perfectly suited to each character.

The cast is quite perfect. Handsome Trey DeLuna makes his auspicious Windy City debut as Ramon Novarro. This talented actor brings all the suave sex appeal of the silent screen heartthrob to the stage, while portraying the Latino film actor’s inner torment and self-destructive angst. Adam Jennings actually resembles the real Billy Haines, and does a great job as the sexually promiscuous, wisecracking young actor-turned-decorator. The character’s sarcasm often hides Billy’s true feelings, and he’s never short on words or opinions. He and DeLuna complement each other, making a great pair of birds of a feather from Hollywood’s early days.

Lovely, talented Abby Lee, who recently charmed audiences as Blanche in “Brighton Beach Memoirs” at Citadel Theatre, is exciting as Joan Crawford/Lucille LeSueur. As the only female in this cast, Ms Lee is a breath of fresh air. She breezes onto the stage and her glib retorts are always a welcome humorous addition to the play’s drama. Her character’s views are strong provide a buffer to the disagreements and problems of her two gay celluloid costars. And, it must be said, Abby looks especially great in Sydney Moore’s stunning fashions. Resembling a young Brad Pitt, good-looking Chicago actor Kyle Patrick returns to Windy City Playhouse, after appearing in “Boys in the Band.” Here he portrays Jimmie Shields in a winning performance that’s full of sex appeal and longing.

The production’s supporting cast truly does precisely that. An ensemble of four handsome and multitalented young men play a variety of valuable, contributing characters, and they do it well. Among them, Max Stewart is a standout, creating a unique, three-dimensional portrayal of three completely different characters. He plays Herbert Howe, Louis B. Mayer and Weber. Jonathan Connolly, Ben Dow and Adriel Irizarry provide the songs, become the background people and the incidental characters who make up this story of old Hollywood.

It’s kind of sad that most of Windy City’s patrons won’t be familiar with the names of Ramon Novarro or Billy Haines before entering the theatre. But it’s guaranteed that audiences will leave knowing who they were. Once learning that Lucille LeSueur is the real name of actress Joan Crawford, they’ll find some comfort in meeting a character they do know from the start. But the story told in Barry Ball and Carl Menninger’s tale of old Hollywood is as surprising and enlightening as it is entertaining. At times the play seems a little too cinematic, which might sound ironic, given that the movie industry is the background for this biographical play. But the choppiness created by the progression of years keeps the audience glued to their programs, in order to remind themselves of the time and place of each scene. 

The performances in this production range from exceptional to very good, and the look and sound of the play are especially spot-on. This is true Hollywood, exquisitely captured onstage. However the sadness we’re left with at the end of this play, and the theme of this story, shows how lives were, and still continue to be, tormented and destroyed by others. It’s usually the work of ignorant, small-minded people. The narrow, thoughtless viewpoints imposed by folks wielding a little bit of power can truly harm. We’re reminded by this play that, as Edmund Burke once said, “The greater the power, the more dangerous the abuse.”  

Recommended

Reviewed by Colin Douglas

Presented February 4-April 16 by Windy City Playhouse, 3014 W. Irving Park Rd., Chicago.

Tickets are available in person at the box office, by calling 773-891-8985 or by going to www.windycityplayhouse.com.

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