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Title: Great Basin Broadway
Author: Eric Vaughn
Date: Oct. 6, 1989
Contrary to the assumptions of some, The Boys Next Door are not gay. In Tom Griffin’s play, the four “boys” remain in various degrees of mental disorder and have a friendly, compassionate case worker, Jack (played by Don Glover). The action is set in their two bedroom apartment in a New England suburban complex.
First, there is Arnold (Richard Dutcher), perpetually busy in attempting to remake the world as he sees it; his is a revolutionary spirit and, for a while, he considers moving to Russia. Another is Lucien P. Smith (Benjamin Cabey), a young Black lost in a private fog most of the time—keeping a stuffed animal close to him and singing fragments of an unrecognizable tune in a haunting, almost inaudible falsetto.
The third is Norman Bulansky (William G. Stockholm), who is compulsive in his speech patterns—“Hello, I’m Norman Bulansky. Welcome to my home. Won’t you have a seat?”—that he continuously repeats; he is the only one with a romantic interest, namely Sheila (Darla Alsop) who also repeats phrases. Norman also has a passionate fixation on donuts, which he brings home from work and offers repeatedly to his companions and visitors.
The fourth tenant is Barry Klemper (D. Kenneth Harper), a schizophrenic who assumes the guise of a golf pro. For years, Barry has hoped to see his father (Stu Falconer)—who has virtually no contact with Barry except for sending a yearly Christmas box of chocolates.
The boys’ reactions are dramatically believable and theatrically effective. Indeed, once the viewer has entered the apartment and witnessed the action, it is difficult to return to the play as a “play”—reality deprives one of the intensity of the action and the comradeship of its world.
Director William Sargent has cast the production with great sensitivity, and it is testimony to the fact that each of the leads has their own singular character. If Cabey proves to be the most powerful figure, it is because his one departure from the miasma of his mind speaks “straight” to us; the moment climaxes the play and shatters our protective distance from the action.
It is also a compliment to the company that the play’s technical framework is unobtrusive, with sets by Marnie Sears, lighting by Catherine L. Owens, and costumes by Amy Roberts.
One last issue: Is it okay to laugh at the action in The Boys Next Door? Yes! For it is essentially a comedy of action and character—that of the human comedy, however dark it may be. If the play’s vision impels one to weep; that’s okay. Playwright Griffin is well served throughout.
The Private Eye spoke with Catherine L. Owens, managing and marketing director for the Broadway Stage. Artistic director William Sargent was resting for a few days while reading scripts for the next production (title of script not available at press time), which will probably open around the holidays.
The former movie theater remained empty for five years until Sargent took it over in January; Owens came on board in March. Except for a welder, seat cleaner and electrician, Sargent and company did all the renovative work themselves—working 16-hour days for six weeks until opening night. Sargent used his own money and efforts to fund the opening, which cost $65,000 in repair and makeover, while $5,000 went toward the production itself. There was also some financial support from individual patrons. According to Owens, everyone involved in the production is paid for each performance, in addition to rehearsal pay.
“Ticket sales have been somewhat disappointing,” she said. “However, that is the process in building an audience. The people need to know that we’re here and alive. We’re now looking for scripts with content and meaning that audiences can relate to. During this first year, there will be five productions—none of them glitzy musicals. Next year, there will be a season subscription. We hope to go Equity within one year, if possible.”
The Caine Mutiny Court-Martial, with Jack Manning directing, will either be the company’s winter or spring production. During this time, Manning will conduct workshops and seminars with local and aspiring actors.
Other plays the Broadway Stage is considering include Heartbreak House, a work by George Bernard Shaw, and Arthur Miller’s All My Sons.
The Broadway Stage will sponsor a fundraiser for Utah State Fusion, Inc. on Nov. 3 and 4. For ticket information, call the box office at 359-1444. Performers will include the Saliva Sisters and Joe Petty, among others. The non-profit organization is designed to offer financial assistance to persons with AIDS and to subsidize their incomes (i.e., food, rent, utilities, medical expenses and personal needs).
Founder of the Utah State Fusion, Inc. is Benjamin Cabey, who plays Lucien P. Smith in The Boys Next Door. Although Cabey is an accomplished saxophonist and vocalist, having appeared with the Utah Opera Company, this marks his professional acting debut.