In The Nance, Douglas Carter Beane undertakes an archeological investigation into the homosexual subculture of late-1930s New York, which in itself seems an audaciously unfashionable enterprise in this age of gay marriage and increasing social acceptance. Perhaps the playwright's intention was to remind today's complacent audiences of the injustices of an intolerant society. If the ambitious play ultimately doesn't dig deep enough to find the ideal balance between its delirious low comedy and pathos, at the very least it provides a tremendous vehicle for Nathan Lane.