In ‘Jerome,’ a dying man’s last gift is someone to leave behind
6 / 10
Director-scenic designer Dustin Wills’ production delivers a jaw-dropping effect at the end of Act I as Bruin’s past implodes. Act II pushes the magical realism further, expanding on a rich tradition of using the supernatural to express the unspeakable trauma of the AIDS crisis. In this way, Spinella’s presence is a profound, full-circle moment for American queer theater. His latest role bridges the historical trauma of the epidemic (he originated the roles in Broadway’s Angels in America and the film adaptation of Love! Valour! Compassion!) with contemporary storytelling.
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