REVIEW by Anthony Chase
BUA faces the challenges of all LGBTQ+ theaters to maintain relevance. Back in a time when mainstream theaters considered silly farces like "Norman, Is That You?" and “Sheer Madness” to be cutting-edge, BUA was already presenting diverse gay characters, nudity, drag, and the complexities of queer experience being explored by playwrights like Brad Fraser, Terrence McNally, and Charles Busch.
Buffalo United Artists (BUA) continues to push boundaries with their latest production, "Monsters of the American Cinema" by Christian St. Croix. This thought-provoking play delves into uncharted territory, exploring the intersection of race, sexuality, and generational divides within the LGBTQ+ experience.
The story revolves around Remy Washington, a Black man who unexpectedly becomes both the owner of a drive-in movie theater and the guardian of his late husband's straight, White teenage son, Pup. United by their shared love for classic American monster movies, they forge a warm bond that is tested when Remy discovers Pup's involvement in bullying a queer classmate.
Through intertwining monologues and sharp dialogue, St. Croix examines the complex dynamics of fathers and sons, the ghosts of our pasts, and the monsters we face within ourselves. So often, adolescent rebellion takes young men down the road to perdition. The play poses a crucial question: What happens when a White, cisgender, heterosexual teen fails to recognize that his queer, African American stepfather embodies the qualities of an ideal man?
Director Mike Doben brings a steady and unflinching hand to this material. He has guided P.K. Fortson, an actor who we have not previously seen in a role of such heft and nuance, to a compelling performance as Remy Washington, portraying a man who has endured numerous challenges with grace and resilience. When last I saw Fortson, he had a tendency to gloss over words, and to toss away moments that needed physical power or stasis. These ticks are not apparent here, as he powers through the drama with ease and confidence.
Ayden Herreid gives a truly impressive performance as Pup. He demonstrates a notably nimble physicality. Watch as he leaps onto tabletops with the light step and agility of a cat. Moreover, his ability to switch between innocence and intensity highlights the contrast between cinematic monsters and the more insidious "monsters" we encounter in real life. Herreid is a very young actor who has previously played child roles. In fact, he is still in college. He nonetheless proves himself to be a formidable talent and is certainly an up and comer on the Buffalo theater scene and possibly beyond.
The two actors forge an appealing father-son chemistry, facilitated by the playwright’s fun riffs through movie trivia and all-too-familiar child-parent negotiations about domestic life.
One of the play's most charming scenes occurs when Remy realizes Pup is dating a Black girl and feels compelled to offer advice on navigating an interracial relationship. This moment is both humorous and poignant, showcasing the play's ability to blend levity with deeper social commentary.
The talented creative team behind "Monsters of the American Cinema" has crafted a visual and auditory experience that perfectly complements the play's themes and performances.
Steve Harter's set design creates an atmosphere of spooky corners within familiar domesticity, effectively blurring the line between the real world and the realm of classic horror films that haunts our nightmares. Costumes by Kaylie Horowitz support the characters' development and the play's shifting moods. In part, she is following a road map artfully laid out by the playwright who understands both clothes and the absence of clothes, giving each a symbolic quality.
Roy Walker's lighting and sound design are particularly noteworthy, transporting the audience to the heightened drama of a drive-in horror movie experience. These technical elements not only enhance the storytelling but also serve as a metaphor for the characters' inner struggles. Known for their minimalist aesthetic, BUA goes even further than the landing spaceship effect of their last production with real onstage rain – a must for any horror story.
Stefanie Warnick's fight direction brings a harrowing authenticity to the play's climactic confrontation. In the climactic fight, I lurched forward, authentically fearful for both Remy and Pup.
"Monsters of the American Cinema" represents another bold step forward for Buffalo United Artists. By exploring the complexities of modern families and identity, it offers a fresh perspective on LGBTQ+ narratives in theater. This production not only entertains but also challenges audiences to confront the "monsters" of prejudice and misunderstanding that lurk in our society.
The play continues at the Compass Performing Arts Factory through September 28th, offering Buffalo audiences a limited window to experience this powerful and innovative work. The venue is upstairs, but there is an elevator. https://buffalounitedartists.org/show/monsters-of-the-american-cinema/
Comments