BWW Reviews: THE TEMPERAMENTALS Explores 50's Gay Activism

In Jon Marans' thought-provoking bio-play THE TEMPERAMENTALS—now playing at the Blank Theatre Company's 2nd Stage Theater in Los Angeles through May 22—a little-known bit of history is unearthed and espoused repeatedly: More than a decade before the infamous 1969 Stonewall Riots marked the defacto start of the modern-day pro-gay rights movement in the United States, there actually existed a group of equally brave men who collectively decided to come together to fight for their right to be who they are. Their pioneering decision to "come out" and be organized at a time when such truthfulness could mean putting their lives and livelihoods in grave jeopardy is the central focus of this laudable West Coast Premiere of the 2009 Off-Broadway production.

Set in the noir-lined hue of 1950's Los Angeles, the play chronicles the emboldened rise and eventual disbandment of an early congregation of forward-thinking individuals that practices a quieted slant of a lifestyle much too ensconced in society's periphery. As such, the play opens with an air of mystery: figures in silhouette glide in and out of a dimly-lit den of seeming ill-repute. The charcoal-black brick walls frame secretive whispers in the dark, and front and center at a cozy table for two, we find a couple of well-groomed, sharply-dressed gentlemen in the midst of a deep, hushed conversation. Soon enough, their heated one-on-one talk of social politics and jewelry gives way to a light seduction—in the form of one person's sock-lined foot ever so slowly grazing the pant-leg of the other.

But this being the mid-Twentieth Century, such displays of flirtatious guy-on-guy affection—even here, done subtly in a place of shadows—are extremely taboo and, therefore, received with fearful alarm...even from the people engaging in the activity. But the tension between future revolutionaries Harry Hay (Golden Globe nominee Dennis Christopher) and his younger, Euro-sophisticate companion Rudi Gernreich (Erich Bergen) reveal a palpable electricity just aching to burst from its taciturn bubble. As we soon learn, out of this passionate, sometimes volatile love affair—which supplements Hay's multi-page manifesto that seeks to fulfill an intrinsic desire to stand up for one's inalienable rights—a political activist group ahead of its time is born.

In essence, Harry—a married school teacher and a non-active member of the Communist Party—sees an obvious injustice and wants nothing more than to give voice to the repressed homosexual minority he affectionately calls "the temperamentals." Like gay advocates before and after him, Harry refuses to have to hide his true self in shame and to have to express his love for another man (specifically, Rudi) in secret. Although it threatens their safety, the goal of "blending in" as to not arouse suspicion is no longer a desired option. Naturally, he's met with an understandable resistance... even from, not too surprisingly, the very gay men he thought would be more confidently apt to start the revolution alongside him.

At first, even his own lover Rudi—an up-and-coming Hollywood Costume Designer who would later become infamous for inventing the topless bathing suit—reveals some trepidation about publicly joining the movement. He's worried mostly because of the likely ill effects it might pose on his burgeoning career trajectory. Heck, even folks in their social circle—including film director Vincente Minnelli (yep, Liza's dad)—urge them to think about what engaging in such activities would do to their chances for advancement, as well as their social standing within a powerful community that deems homosexuality as a mental depravity instead of an in-born characteristic. But Rudi finds Harry intriguing and blissfully succumbs to Harry's persuasive proclivities.

But soon enough, though, Harry's and, yes, Rudi's grassroots efforts pick up steam and incite a pretty, witty and gay band of buddies to form the Mattachine Foundation, a group dedicated to the advocacy and protection of the homosexual minority through research, education, social aid, and visibility. As they bask in the glow of the Silverlake skyline—marking a literal dawn of their new venture—Harry and Rudi are joined by three friends as the society's co-founders: There's outspoken, slightly effeminate funny guy Bob Hull (Avenue Q Tony-nominee John Tartaglia), who also happens to be nonchanlantly racist; Bob's tightly-wound ex-lover, the bookish Chuck Rowland (Mark Shunock); and, finally, Bob's latest paramour, macho former cop Dale Jennings (Patrick Scott Lewis). Sparked by Dale's suspiciously-reasoned arrest that the group makes public and helps defend in court, Harry and the guys eventually manage to recruit many other "temperamentals" in Los Angeles to join their organization—the first of its kind in the United States.

Admirably directed by Michael Matthews in the cramped space of the 2nd Stage Theater, The Blank Theatre Company's production of THE TEMPERAMENTALS is an entertainingly insightful, often amiable look at what may very well be the true inauguration of the gay rights movement. Though we do get a truncated glimpse into the characters' personal, complex struggles—particularly Harry's and, by association, Rudi's—the play spends most of its time repeatedly hammering home that these five early arbiters of equality are to be revered as heroes that have slipped through the cracks of history. Though, really, it's not a difficult task: Harry and his very likable friends endear themselves to the audience almost immediately, aided by Maran's layered, witty script that's vividly dramatized by a superb cast.

As Harry Hay, the enigmatic center of the play, Christopher plays the role with grace, power, and a multi-tiered complexity that's utterly captivating to watch. Bergen, as Harry's Judy Garland-loving counterpart Rudi, does a great job sparring with Christopher in many of their scenes together. His Austrian accent, despite going in and out throughout the play, fails to dampen the confidence present in his assured performance. Tartaglia's ditty-warbling Bob is a charming delight, often stealing many of the scenes with either an amusing turn of phrase, a clever voice inflection, or a well-fashioned facial expression—without the dreaded dive into camp territory. (He even gets an ad hoc opportunity to give voice to an inanimate object—something Tartaglia knows a thing or two about).

Like Tartaglia, both Shunock and Lewis play double/triple/quadruple duty playing multiple roles, but the two actors primarily play co-founders Chuck Rowland and Dale Jennings, respectively. Shunock is sincerely great not only as Chuck but also in his scenes as director Vincente Minnelli. And, finally, as the searingly conflicted Dale, Jennings is a riveting presence in the cast. This ensemble is to be praised not only for their excellent, rich performances, but for also doing so quite effortlessly inside a warm, air-conditioning-deprived theater. During the play's Opening Night performance, I'd like to think, at least, that the heat in the theatre colored the cast's commendable acting, tinged with a literal struggle their roles required.

A respectable achievement, the play does have a few minor speed bumps, particularly its tendency to get dangerously close to the cusp of being too preachy. There's also a strange second act opener that comes off as more absurd than abstract, proving to be an oddly-staged moment that feels like it was haphazardly inserted into the narrative as a forced avant-garde dream sequence. And I understand that the claustrophobically-spare two-story set (designed by Kurt Boetcher)—every inch of which is painted in a heavy coat of black paint—represents all the back-alley hangouts the "temperamentals" were forced to retreat to in secret. But I still wonder, though, whether it needed a creative extension beyond its forced economy.

Overall, THE TEMPERAMENTALS is an enjoyable, reverent history lesson that, albeit, concentrates more on the big picture of its pioneering implications rather than a closer examination of these individuals' detailed motivations. There's no denying that all of them are pedestal-worthy... so much so that they are individually honored with a 'what happens to us in the future' closing epilogue round-table that practically canonizes them. Still, the play's pre-determined goal is achieved: to celebrate the Mattachine Society's efforts in the fight for equal rights, which, of course, paved the way for future generations of gays and lesbians to live open, honest lives. In their mere necessity to exist truthfully—at a time when such bravery of self-identification meant imprisonment or even death—these "temperamentals" will forever stand as iconoclasts in the LGBT history books.

Follow this reviewer on Twitter: @cre8ivemlq

Photos from The Blank Theatre Company's THE TEMPERAMENTALS by Greg Gorman. Top: Erich Bergen (on floor) & Dennis Christopher. Middle: Dennis Christopher. Bottom: (from left) John Tartaglia, Mark Shunock, Patrick Scott Lewis, & Erich Bergen.

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Performances of The Blank Theater's West Coast Premiere production of THE TEMPERAMENTALS continue through May 22, with shows Thursday through Saturday at 8 pm and Sundays at 2 pm.

Tickets are priced $26 for Thursdays and Sundays; $30 for Fridays and Saturdays.

The Blank Theatre Company's 2nd Stage Theatre is located at 6500 Santa Monica Boulevard (at Wilcox), in Hollywood. Secured valet parking available.

For tickets and information, call (323) 661-9827 or visit www.TheBlank.com.