A Stormy and Articulate Work

The Normal Heart

During the early 1980’s a fast-spreading outbreak of a strange unknown illness began showing up among New York City’s gay community. Its flu-like symptoms signaled the destruction of the body’s immune system and became known as the “gay plague.” Hundreds of thousands of men began contracting this mysterious, deadly virus that ultimately developed into pneumonia and resulted in incontinence, severe weight loss, tumors, dark purple lesions and an ultimately death. 

Rex Reed called this passionately moving play “A stormy and articulate work” and said that “No one who cares about the future of the human race” should miss seeing this drama. Gay activist, Larry Kramer, who watched helplessly as so many of his friends contracted this unexplained illness and died, grew frustrated and angry. He became enraged by New York’s refusal to prevent or even acknowledge the existence and rapid spread of this deadly disease. 

Choosing to direct his disdain primarily toward the New York Times, New York City’s Mayor Koch and then-President Ronald Reagan, Larry Kramer wrote this impassioned play that’s both autobiographical and historically factual. Despite there still being thousands of cases of HIV/AIDS around the world today, the progress of the disease is now able to be contained. Luckily in 2024 this disease is no longer the death sentence that it was during the 1980’s; and a new preventative medication called PrEP is available to those who test HIV-, offering renewed hope to the LGBT+ population. This advance in science and public consciousness can, in a large part, be attributed to Mr. Kramer’s play.

Kramer’s play opened Off-Broadway at The Public Theatre in 1985. As understanding and awareness of the disease spread around the world, so did additional productions. Finally, in 2011, Kramer’s heartbreaking drama opened for a limited run on Broadway, ultimately being honored with that year’s Tony Award for Best Revival of a Play. Despite being written almost 40 years ago, this play remains an indictment of how prejudice and fear causes people, especially public officials in positions of power, to turn their backs on those who require assistance and compassion. Unfortunately, as we experienced during the COVID-19 outbreak, we’re still experiencing this political idiocy today.

This new, scintillating Chicago production, directed with power and passion by multitalented actor and Director, Ted Hoerl, opens in Redtwist Theatre’s newly renovated facility on Bryn Mawr Avenue. This modest, bare bones production is staged in a black box space, whose walls are lined with collages of gay icons and events from LGBTQIA+ history. Between scenes, LED screens project historical film clips, created by Technical Director Dusty Brown, that evoke the 80’s and add to the authenticity of the play.

The play opens in a hospital waiting room, where we meet Ned Weeks and two other anxious young men. Craig, a 20-something kid (nicely played by Caleb Crawford in his first principle role with Redtwist ), is dreading to hear the diagnosis he’s been fearing. Gay men all over the city are becoming ill at an alarming rate, and within weeks or months, most have died. The hospital is baffled, science is stumped and, except for one doctor, an attitude of laissez faire persists.

Talented Chicago actor Peter Ferneding (NIGHT WATCH at Raven; CHAGALL IN SCHOOL at Grippo Stage Co.) brilliantly plays Ned Weeks, Kramer’s surrogate voice in this rage against the machine. Mr. Ferneding, however, doesn’t just play this role; he totally inhabits it. Peter’s portrayal of Ned Weeks isn’t merely a mouthpiece for the playwright’s indignation and anger. He’s a real, flesh and blood human being with whom the audience can identify, be they straight or gay, man or woman. Peter Ferneding’s performance, the heart of this production, is filled with believability, conviction and restraint and should not be missed.

Ted Hoerl’s supporting cast is equally adept and believable. Tamara Rozofsky, a Chicago improv actress, makes her Redtwist debut as Dr. Emma Brookner, the only female in this play. Confined to a wheelchair after contracting polio, her character is not only perplexed by this mysterious, deadly new disease, but she’s also frustrated by the apathy shown by government bureaucracy and the healthcare system. She partners with Ned in his battle against the disease while trying to warn the gay community to take the necessary precautions. Ms. Rozofsky is both tough and sensitive in her portrayal, especially in the good doctor’s passionately delivered 11th hour monologue where she pleads for continued research funding from the hospital.

As Ned’s love interest, Zachary Linnert (BRIGADOON at Music Theater Works; RAGTIME at Metropolis) journeys from confident yet closeted NY Times fashion editor to being a frightened, deathly ill, lesion-riddled AIDS patient. His moving portrayal, which includes several tumultuous moments as Ned’s romantic partner, provides much of the play’s emotional thread. The facts of this pandemic, devastating as they may be, become real when the audience has a face to accompany them. But in Larry Kramer’s riveting play, there are several.

In the role of Bruce Niles, Philip C. Matthews (LITTLE SHOP OF HORRORS at Citadel Theatre) portrays the handsome, closeted president-elect of Ned’s GMHC organization. Niles is a strong, objective leader until, in one of the play’s finest scenes, he drops the facade and breaks down while describing his lover’s horrific and slow death, along with the inhuman indignation that followed. His devastating account is one of many that brought the audience to tears. 

Christopher Meister (NIGHT WATCH at Raven Theatre; BOTTICELLI IN THE FIRE at First Floor Theatre) gives an earnest and layered portrayal of Ben, Ned’s prosperous brother. His portrayal comes across with dignity but so much hidden pain lurking behind his conservative mask. Ben’s inability to accept Ned’s lifestyle is continually at odds with his brotherly love. Joshua Servantez plays Mickey, one of Ned’s more flamboyant friends, who ultimately can’t take Ned’s fiercely confrontational approach to the gay health issue. Cameron Austin Brown makes his Redtwist debut as Tommy. Providing the voice of sanity and calm reason, Tommy delivers his wisdom with a flamboyant and droll sarcasm that provides most of the play’s humor. And in several roles, including Hiram, the Mayor’s callous assistant, Gardy Gilbert (IS GOD IS at A Red Orchid Theatre; BOTTICELLI IN THE FIRE at First Floor Theatre) does a fine job creating a variety of different characters.

Redtwist Theatre’s excellent production of this stormy and articulate play is among several exciting dramas playing in Chicago during the new Fall Season. Audiences looking for a play of historical significance, while remaining as relevant today as when it was first written, need only head to Bryn Mawr Avenue. Ted Hoerl’s brilliantly directed presentation tells Larry Kramer’s story with care and sensitivity, showcasing some excellent performances by many of Chicago’s very best actors. It is a long play but one that shouldn’t be missed. For younger theatergoers THE NORMAL HEART may provide an eye-opening look at an important era in history; for many others, especially those who’ve lost family and loved ones to this deadly pandemic, old wounds may be reopened. The effect is both cathartic and revelatory…and beautiful. 

Highly Recommended

Reviewed by Colin Douglas

Presented August 22-September 29 by Redtwist Theatre, 1044 W. Bryn Mawr, Chicago.  

Tickets are available in person at the box office or by going to www.RedtwistTheatre.org.

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