Necrology: March 2020

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By Scott Ross

Mart Crowley, 84. The writer of the first important American play completely peopled by gay men (plus one possible closet-case). The Boys in the Band may be dated, but its importance, and that of its author, remain evergreen.

Boys in the Band - Crowley and cast (Laurence Luckinbill, Frederick Combs, Robert La Tourneaux, Kenneth Nelson, Leonard Frey, Cliff Gorman, Keith Prentice, Peter White and Reuben Greene)

Crowley (far left) and the cast of The Boys in the Band: Laurence Luckinbill, Frederick Combs, Robert La Tourneaux, Kenneth Nelson, Leonard Frey, Cliff Gorman, Keith Prentice, Peter White and Reuben Greene.


Max von Sydow, 90.
There were many who felt that, with Marlon Brando, Von Sydow as one of the two greatest actors in movies. Playing Who’s Best is always a mug’s game, but Von Sydow was one of those rare actors, like Gene Hackman, who seemed incapable of giving a poor performance. (He could be miscast, but that’s a different matter.) Beginning in 1957, when he became famous as a Medieval knight playing chess with Death he appeared in 11 Ingmar Bergman films: The Seventh Seal, Wild Strawberries. Brink of Life, The Magician, The Virgin Spring, Through a Glass Darkly, Winter Light, Hour of the Wolf, Shame, The Passion of Anna and The Touch and was, with Liv Ulmann (who was in ten for Bergman) the face of Swedish cinema generally, and of Bergman specifically.

Above, left to right: Von Sydow playing chess with Death (Bengt Ekerot) in Bergman’s The Seventh Seal (1957); with Julie Andrews in Hawaii (1966); with Bibi Andersson in John Huston’s The Kremlin Letter (1970); with Linda Blair in The Exorcist (1973); with Robert Redford and Addison Powell in Three Days of the Condor (1975); with Pelle Hvenegaard in Pelle the Conqueror (1987).

Perhaps the most striking thing about Von Sydow, aside from his height and his thin, gaunt face and body, was the intelligence he inevitably projected. There are actors who are never believable as unlettered morons, and others (De Niro is a good example) you can’t imagine reading a book. Von Sydow could play a peasant, or a laborer, as he did for example in his beautiful performance in Billie August’s adaptation of Martin Andersen Nexø’s Pelle the Conqueror (1987) but even there his eyes exhibit thought as deep as his limitless love for his son. And although the Swedish actor looked severe and the roles he undertook often demanded unyielding strength of character in the face of adversity, he was also often soft-spoken and kindly on screen, as he was in the movie for which most Americans remember him. As Father Merrin in The Exorcist (1973) his selfless acts, like his faith, were as much a matter of human decency as of religious custom.

Von Sydow became a more international movie figure in the 1960s, assaying the role of Christ in The Greatest Story Ever Told (1965) and the monstrously inflexible Reverend Abner Hale in the very fine adaptation of one-sixth of James Michener’s wonderful historical novel Hawaii (1966). He was an elegant villain in the spy thriller The Quiller Memorandum (1966) and the conflicted Russian agent in John Huston’s woefully underseen The Kremlin Letter (1970). Returning to Sweden (and Ullmann) he was in the two-part Jan Troell epic The Emigrants (1971) and The New Land (1972) and, in America, the assassin in Three Days of the Condor (1975) who shows surprising restraint when his quarry proves his mettle.

Most of the projects in which Von Sydow appeared during (to use a nifty phrase from Paddy Chayefksy) his emeritus years were, aside from Pelle, unworthy of his time or talents. And while Woody Allen cast him in a thankless role in Hannah and Her Sisters (1986) he did at least give Von Sydow one deathless line: “If Jesus came back and saw what’s going on in his name, he’d never stop throwing up.”


Lyle Waggoner, 84.

Waggoner was a handsome lox on The Carol Burnett Show for seven years, and while I doubt many missed him when he departed (as they did Harvey Korman) as with Zeppo Marx there was something about the show with him that wasn’t there when he was gone. Just what, I don’t know. A kind of attractive amateurishness, perhaps, that Vicki Lawrence also shared in the early days, until she grew into her own as a comedian. I can honestly only recall three Waggoner moments with any clarity: As Mark Spitz on a talk show, memorable only because when asked a question he spat a mouthful of water; Gloria Swanson suggesting to him that they go away for the weekend… to Algiers; and cracking up at Tim Conway’s Nazi interrogator when he revealed his secret weapon: A strangely adorable Hitler hand-puppet.


Terrence McNally, 81.

Terrence McNally - Jake Mitchell

Photo by Jack Mitchell

McNally is one of those odd figures whose work is both stimulating and almost determinedly frustrating. Although his gift for dialogue — especially comic dialogue — was enviable, he had a maddening tendency in his full-length work to restate in his second acts everything his first acts revealed, mitigating their effectiveness and giving the spectator a numbing sense that he could have left at intermission and missed nothing of importance.

Yet, like his contemporary Mart Crowley, who also died this month, McNally was an important figure in the emergence of gay playwrights in the late 20th century, in the latter’s case as early as 1965, when his play And Things That Go Bump in the Night premiered. It was almost universally reviled, and not wholly without reason, as it revealed a nastiness that cropped up again and again in his work. (Although one might well argue that had this unpleasantness been heterosexual in nature the vitriol invoked against it would have flowed less freely.) But much of the opprobrium cast its way had to do with the central character of the sadistic gay son.

The play came an interesting time. The late critic John Simon had often inveighed against what he saw as homosexual playwrights attempting to “sneak a cuckoo’s egg into a nest of a different feather”; a year later, Stanley Kauffmann would unleash a small tsunami in the theatre with his essay “Homosexual Drama and Its Disguises,” accusing gay writers of presenting homosexual characters and themes wrapped in heterosexual clothing; and three years after, the year before Stonewall, William Goldman, in his influential book The Season: A Candid Look at Broadway would echo these sentiments. As with Kauffmann, and although his tone could be snide, Goldman’s approach was essentially sympathetic (“After all,” he wrote, “the homosexual is here, and he’s not going anywhere. It might be nice to know, at last, what’s really on his mind.”) but was seen as bullying. I think these men had a point. Not being free to write openly, as he wished, about what affected him and those like him, for far too long the gay playwright was among the most closeted of all show-business practitioners and had, perforce, to use subterfuge. It limited him, cramped his work, and made his growth nearly impossible when he had to place in the mouths of heterosexual men and women what should have been said between two men.* (Or, if the writer was a Lesbian, two women.) Simon, who had, just before And Things That Go Bump opened, repeated this lament, was less than happy to see his hope come to fruition. “Well,” he opined, “now we have an honest-to-goodness homosexual play, and is it ever an abomination!” Thereafter, McNally included a John Simon joke in nearly every play where it might fit, and which Simon usually got a chuckle out of, although he felt that some of them weren’t as good as others.

The Ritz - Moreno, Stiller and Weston (resized)

“The Ritz:” Rita Moreno, Jerry Stiller and Jack Weston

McNally’s work after the debacle of And Things That Go Bump concentrated on one-acts: Botticelli, Sweet Eros, Witnes, ¡Cuba Si!, Noon (all 1968), Bringing it All Back Home and Next (both 1969), Bad Habits (two one-acts, Ravenswood and Dunelawn, 1974), Whiskey (1973) before returning to the full-length form more or less permanently with Where Has Tommy Flowers Gone? (1971). Considering his penchant for redundancy, he might have been well advised to stick with one-acts. Still, there were some winners along the way. The Ritz (1975), an old-fashioned, knockabout farce, turned the form on its head by setting the action in a gay bathhouse (ask your uncle, if he survived the plague). The two-hander Frankie and Johnny in the Clair de Lune (1982), about two homely, lonely middle-aged “losers,” was a success, although when the inevitable movie was made the man, originally enacted by F. Murray Abraham, was cast with Al Pacino and the woman, played in New York by a pre-Misery Kathy Bates, was Michelle Pfeiffer. It’s Only a Play (1982 and 1986), was very funny for one act before (surprise!) falling apart in the second, a problem that also dogged the two versions of The Lisbon Traviata (1989).

Here, however, an interesting problem arose. McNally came under fire for having one of the two gay men in Act One commit an act of bloody homicidal violence against his lover in Act Two. The playwright obediently softened this ending and, as a result, ironically lost the act’s (indeed, the entire play’s) raison d’être. The first act consists of a long, frequently hilarious, conversation between two obsessed opera queens, and when the more serious of the two comes home to find his partner with another man, the murder he commits brings the opera obsession full circle; it’s horrific, bigger than life, and perfectly in keeping with the notion of opera fandom as a defining obsession containing (and, ideally, sublimating) grand passions and outrageous acts. The muted ending of the play’s revision is more like a dying fall — perfectly reasonable, perhaps, but reason is not the state of mind the play was concerned with.

Love! Valor! Compassion! cast with Joe Mantello and Terrence McNally (resized)

Love! Valor! Compassion! The Broadway cast with their director, Joe Mantello, and McNally

McNally’s 1988 response to AIDS, Andre’s Mother, was an almost perfect little play, four pages long, restrained and elliptical. Adapted by McNally into a half-hour drama for Public Television in 1990 and starring Sada Thompson, Sylvia Sidney and Richard Thomas, the playlet’s self-containment was beautifully expanded, the ending deeply moving. It was with the 1994 Love! Valour! Compassion! that the playwright scored his greatest triumph, and produced his best and most well-rounded play. Set on three holiday weekends of a single summer, at the country estate of a Jerome Robbins-like choreographer, it is by turns Chekhovian and unabashedly theatrical, an examination of friendships, love and life grinning into the face of doom. Nathan Lane, who had played Mendy, the Mendy Wager figure (originally performed by Mendy Wager) in The Lisbon Traviata and also performed in McNally’s Lips Together, Teeth Apart (1991), headlined a cast that included John Glover, Stephen Bogardus and the extraordinary Justin Kirk. The original production won the 1995 Tony for Best Play.

Master Class (1995) followed, a distinct step backward. Although this might be an opera queen’s ultimate play, and while Zoe Caldwell and Audra McDonald won Tonys, this fictionalized depiction of Maria Callas toward the end of her life suffered from the typical McNally malady of a second act that did little but regurgitate the ideas of the first, but somehow managed to win Best Play… proving perhaps the paucity of great American drama on Broadway as the Millennium approached. By contrast Corpus Christi (1998), a brave allegory in which a group of gay men re-enact the Passion, met with all-too-predictable howls of protest (along with death-threats from followers of The Prince of Peace) and a cowardly response from the Manhattan Theatre Club, which first canceled and then reinstated the original production.

I’m not conversant with McNally’s later plays, have only middling interest in the musicals for which he wrote the books (Here’s Where I Belong, The Rink, Kiss of the Spider Woman, Ragtime, The Full Monty, The Visit, A Man of No Importance and Catch Me If You Can) and absolutely none in his three opera librettos in collaboration with the composer Jake Heggie. (I’ve only loved one opera in my life, but then who, other than a reactionary — or reactive — fool doesn’t love Porgy and Bess?) And if his plays are highly variable, his status as a lively éminence grise of modern American dramaturgy was assured long ago. It is, therefore, disheartening in the extreme to note that his death is being promoted as part of a fear-mongering campaign. According to the vaunted Wikipedia, which has in its necrologies recently climbed onto the current insane “The plague is coming!” hysteria-wagon over an influenza virus that has reduced the populace of seven continents to puddles of melted jelly, McNally, who had two serious health problems, not the least of which was lung cancer, “died of complications from COVID-19.” The source for this diagnosis? “The cause was complications of the coronavirus, according to [McNally’s] husband, Tom Kirdahy,” reports The New York Times. And Kirdahy is a virologist? A physician? A coroner? No. He’s a theatre producer.

The Times obituary goes on, “Mr. McNally had chronic obstructive pulmonary disorder, and had overcome lung cancer [emphasis mine].” As Eliot M. Camarena observes, “So, as with many of the [COVID-19] deaths, he died with the virus but not because of it.” Wikipedia likewise is now routinely, and opportunistically, citing COVID-19 as the “cause” of deaths on its obituary page, mostly for the elderly who have actually died of existing conditions possibly exacerbated by the virus, reflexively and irresponsibly disseminating misinformation — or perhaps disinformation? — and hoping to frighten you like most corporate media.. (And don’t think for a moment Wikpedia is now in any way a “grassroots” organization.)

But then as Eliot further notes, quoting Hecht and MacArthur, “Who the hell’s gonna read the second paragraph?”


*Although being homosexual and writing about heterosexuals didn’t seem to limit Tennessee Williams’ dramaturgy.

Text copyright 2020 by Scott Ross

The man from “The Boys”

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By Scott Ross

Mart Crowley died earlier this month at the age of 84. It is probably difficult for those born in or after the 1970s to comprehend this, but there was a time, and not so long ago, when homosexuality was so terrible a spectre that, even in the field of entertainment, where gay men were legion, there were only two ways to depict fags: 1) As comic, cowardly, limp-wristed prissy swishers who sold antiques, cut hair, designed clothing, squealed like schoolgirls and could always be counted upon to make the hero look like Victor Mature even if he was as wispy as Elisha Cook, Jr.; or 2) as vicious, conscienceless, sadistic/misogynist killers who had to be put down, preferably with as much brutality as could be mustered. Even our greatest, then-living playwright had to disguise his gay characters, or obfuscate their sexuality, ore pretend their sexual activity was shameful, from the ’30s right through the 1960s… and that at a time when the stage was otherwise 50 years ahead of the movies in what could be depicted, and discussed. In such an atmosphere, Mart Crowley’s 1968 play The Boys in the Band hit New York as a cultural tsunami; what was intended for five-performances Off-Broadway became a 1,000-performance run, the play was recorded in its entirety by A&M Records (Herb Alpert’s label; he was the “A”) and it was filmed, pretty much intact and with the same cast that played it on the stage, by William Friedkin in 1970. (Note the photo of the marquee above. So much for Friedkin’s possessive credit. Cinema Center knew it was a playwright’s movie.)

Boys in the Band - Crowley and cast (Laurence Luckinbill, Frederick Combs, Robert La Tourneaux, Kenneth Nelson, Leonard Frey, Cliff Gorman, Keith Prentice, Peter White and Reuben Greene)

Crowley (far left) and the cast of The Boys in the Band: Laurence Luckinbill, Frederick Combs, Robert La Tourneaux, Kenneth Nelson, Leonard Frey, Cliff Gorman, Keith Prentice, Peter White and Reuben Greene.

Crowley, whose friend Natalie Wood hired him as her assistant largely to give him time to complete the play, wrote about himself, and those he knew, in those antediluvian, pre-Stonewall days of the furtive closet in which the only public homosexual the wider society knew of was Truman Capote (and, because he didn’t say so and neither did anyone else, for attribution, some people probably weren’t even entirely certain about him.) While Michael, the play’s bitchy, self-hating central figure, might be thought of as a self-portrait, there was likely some element of Crowley’s persona in all the characters, some of men he knew and some (hold on to yourself) he simply made up. This, not to shock the many now who think that every writer, no matter his or her genre, is constantly engaged in autobiography, is what writers do.

Some felt The Boys in the Band was hopelessly dated when the Stonewall riots took place a year after the play premiered, but this is nonsense. Were the battles the Youngers faced in A Raisin in the Sun obliterated due to the 1963 March on Washington, or because the Voting Right Act was passed two years later? Did Judgment at Nuremburg eliminate anti-Semitism? Not that things didn’t get better, for many, and fast — too fast for the prevailing culture; nasty homophobic jokes and smears in the press and popular entertainment, and legislation in the public sphere, continued apace in the 1970s, but Allen Ginsberg, who witnessed the second night of rioting, famously observed, “You know, the guys there were so beautiful — they’ve lost that wounded look that fags all had 10 years ago.” The “boys” in The Boys in the Band all have that look, to one degree or another, even the exuberant flaming-queen Emory. Indeed, the late Doric Wilson, who was also there, later incorporated Michael and his friend and former lover Donald into his wonderful Stonewall play Street Theatre, where they whinge from the sidelines, their bitchiness about the participants camouflaging their fear that they might actually have to stop cringing and stand, if not proud, at least unafraid, before the straight world.

The Boys in the Band R-1773445-1256990810

Crowley never had a hit like The Boys in the Band again, but while I’m sure he would have enjoyed one, he almost didn’t need it. (Orson Welles to Boganovich: “Peter, you only need one.”) His comic drama stands as the embodiment, bold and utterly, un-apologetically queer at a time when men were routinely entrapped, and arrested for so much as dancing with each other in a bar, of a time and place, just before some form of liberation became possible. When I discovered the LP at 17, it took the top of my head off. As I had just emerged from my own sexual confusion, it was astounding to hear through my headphones this stageful of men being themselves, and flagrantly: Dishing full-throatedly. Discussing matters of intimate sexuality as if there were no straights in the audience, or within twenty miles of their voices, with deliciously obscene abandon and, by yes, camping it up. And indulging in badinage that even one of my tender years recognized could bear comparison to the wit of Wilde and Coward. There are few modern plays (or movies, for that matter) with as many quotable lines, and you can probably number those on two hands with some fingers left over.*

Harold: Who is she? Who was she? Who does she hope to be?


Michael: In spring a young man’s fancy turns to a fancy young man.


Donald: Thanks to the silver screen your neurosis has got style.


Harold: You look like you’ve been rimming a snowman.


Michael: There’s one thing to be said about masturbation: you certainly don’t have to look your best.


Donald: What’s good for the gander is good for the gander.


Harold: Give me Librium or give me meth!


Emory: If it’s the one I met, he’s about as straight as the Yellow Brick Road.


Michael: What’s more boring than a queen doing a Judy Garland imitation?
Donald: A queen doing a Bette Davis imitation.


Harold: Michael doesn’t have charm, Donald. He has counter-charm.


Cowboy: I lost my grip doing my chin ups and fell on my heels and twisted my back.
Emory: You shouldn’t wear heels when you do chin ups!


Harold: What I am, Michael, is a 32 year-old, ugly, pock marked Jew fairy, and if it takes me a little while to pull myself together, and if I smoke a little grass before I get up the nerve to show my face to the world, it’s nobody’s goddamned business but my own. And how are you this evening?


Cowboy: I’m not a steal. I cost twenty dollars.


Michael: It’s not always the way it is in plays. Not all faggots bump themselves off at the end of the story!


Harold: Well, that’s the pot calling the kettle beige.


Michael: As my father said to me when he died in my arms, “I don’t understand any of it. I never did.” Turn the lights out when you leave.

The Boys in the Band - movie poster

Not everyone loved the play, or the movie. Pauline Kael likened its characters to “the gathering of bitchy ladies in The Women, but with a 40s-movie bomber-crew cast: a Catholic, a Jew, a Negro, a hustler, one who is butch, and one who is nellie, and so on. They crack jokes while their hearts are breaking.” But better this than the sort of reflexive, prim inanities one reads about the play now on pages like Wikipedia, where Crowley’s entry refers to The Boys in the Band as his “gay-themed play.” Gay-themed?!? This, about a piece of theatre whose cast last is entirely composed of gay men (and one possible closet-case) who talk almost exclusively about matters of note to homosexual men, and in which sexuality, and the characters’ attitudes toward it, is the overriding concern!

Crowley may have been, to a degree, a victim of his own success. The play that made him famous also limited him (this was not, after all, the time of “out” gay screenwriters winning Academy Awards) as the times marginalized the work itself. And what really dated the play was not Stonewall, but the decade that followed it: By the time we had gotten through Anita Bryant’s crusade in Florida, the Briggs Initiative in California, the murders of George Moscone and Harvey Milk in San Francisco and such ancillary items as a deeply biased CBS News “special report” that in a mere hour managed to slander every gay man and Lesbian in America, that wounded look Ginsberg referred to had been replaced by one of utter fury.

And, lucky us, AIDS was waiting in the wings.

Having come out the other side of that devastation,† which I remain persuaded was CIA in origin (oh, not aimed at queers — we were just collateral damage — but at Africans) the turn of the century seemed the right time to re-examine Mart Crowley and his most famous play. It was re-published, along with the lesser-known A Breeze from the Gulf (a sort of unofficial, autobiographical prelude to Boys) and another, For Reasons That Remain Unclear, and carrying a new introduction by the author, in 1996. It was also recently given a somewhat starry Broadway production with a cast entirely composed of “openly gay” actors (whatever that means; who ever identifies as “openly straight”?)‡ including Jim Parsons and Zachary Quinto. The theatre writer and critic Peter Falicia believes the play helped inspire Stonewall, which I beg some leave to doubt, and that it altered the attitudes of many heterosexuals who saw it, which is more likely.

Mart Cowley did of a heart attack following open heart surgery on 7 March, 2020. There were times in the years after the play and movie when, as his old friend (and onetime “Boy”) Laurence Luckinbill notes in American Theatre, Crowley despaired, and nearly succumbed. But he survived to 84 when many of his generation (and, later, my own) were dead before 44. And what will be more important to future generations, his most well known play survives. As a period-piece perhaps, or even an object lesson, but either way The Boys go on. This one-time, fumbling, uncertain gay adolescent now sends his thanks to a man he never met but whose characters still live within his ageing breast. Thanks for turning the lights on, Mart/Michael, and for keeping them on when you left.

Mart Crowley 1970

Crowely at the time of the movie.

*My list, for what it’s worth (and with minimal thought), of ten: The Importance of Being Earnest, Pygmalion, Private Lives, A Streetcar Named Desire, Waiting for Godot, Who’s Afraid of Virginia Woolf?, A Man for All Seasons, The Odd Couple, 40 Years On, Angels in America.

†Although nearly a million people still die from HIV/AIDS every year — 13,000 of them in America. That’s hardly a victory. But its terror has largely receded here, if only among those not affected.

‡Please don’t bother telling me it’s about being “out.” I came out as a teenager, in 1979. But I don’t refer to myself as being “openly gay” any more than I identify as “openly Caucasian,” or “openly Scots-Irish.” And yes, I recognize the difference. I’m not quite a moron.

Text (other than Crowley’s dialogue) copyright 2020 by Scott Ross