Out with ACT: The Normal Heart

Larry Kramer may be an angry man, but he has every reason to be. And frankly, all things considered, it's not that we're "normal" and he's "angry", but rather he's the sane one for being passionate and furious and we are the lesser, damaged people for not being as angry as he is. It's like the adage, "If you're not outraged you're not paying attention."

The Normal Heart is a tour de force and every bit as relevant today as it was during the dawn of the AIDS epidemic—a time of the suffering and dying of innocent loved ones met with callous disregard, a time of futility of medical care, and the travesty and tragedy of inaction by public officials and those who could help but would not, and instead turned a very willing eye blind and all shoulders cold.

Surprisingly, The Normal Heart is also a love story. And a funny as it is sorrowful. But almost always angry. Rightfully so.

ACT's production was powerful and amazing. I looked at some photos of previous productions later and really appreciated the stage design for ACT's production-stark white with headlines regarding the plague and our reactions to it in type relief. The direction is near flawless. And the acting? Out of the park. This is a stage of talent and they knock you out.

One of my favorite character sort of actors whom you'll recognize from a variety of things plays the lead role and Kramer's surrogate. It is no small feat for Patrick Breen sustain the anger and indignation of his character, while also making him endearing and tragically heroic. Almost Cassandra. And he embodies the physicality and the inflection of a Need Weeks with apparent ease. (Although I have to say I loved him as Quellek in Galaxy Quest!) The rest of the cast is as talented and bring much to each role. Jordan Baker is a joy to watch in her raspy blunt acerbity, and as possible as it can be to steal the show in a play such as this, Sean Dugan steals each scene he is in and leaves you hoping for a return. Although that might have something to do with the fact that his role offers much of the emotionally-needed comic relief, but that in no way diminishes the skill with which Sean Dugan brings Tommy Boatwright to life.  And Matt McGrath lives and dies as Felix as well.

Also a treat was the surprise in seeing Bruce Altman in a supporting role as he is easily recognized from his prolific film television character work.

The play is doubly painful in its truth, and while the final scenes evoked tears from most and sobs from some, we were all on our feet for an ovation at curtain. Striking however, was after the final bow and the last clap, the audience began to slowly exit in complete silence. There no no usual chatter and commentary as we filed from our rows, but rather a tragic quiet, as if we had all been hushed filing from pews at a funeral. It was quite remarkable.

We were fortunate that most of the cast were able to join us at the Out with ACT reception after the show. The actors were kind enough to engage in personal conversation beyond the usual pleasantries. The material did lend itself to meatier topics, and I was touched to learn that this was an important play for two of the actors who are more popular in the more lucrative world of television and film as they each had a brother die of AIDS in New York City during the early days chronicled by this play.

The best play anecdote came from Jordan Baker. This play is physically and emotionally exhausting and I was amazed that they perform nine shows a week, and they have matinees during the week for school groups. I was impressed by that, as this is such an important play for young people,and I shudder to think how many other cities and all the other states would have fits over the idea of performances of this subject for students.

I asked how the students reacted to the material, and her stories were fascinating. The stand out one though was this: A student wanted to know about "the book" mentioned in the play. "What was the book? Was there a secret book of gay men? What was this secret book?"

The reference was made during the meeting of the two characters who would become (unfortunately lifelong) lovers. Before parting, Felix asks Ned, "Are you in the book?" "Yes." "I'll call you."

They were talking about the phone book.

Kids these days.

An entirely different history lesson.