OFF-BROADWAY REVIEW
BOYS' LIFE
Reviewed by David Sanchez
Published 2008-10-22
The opening line as delivered by Jack to his college buddies is, “Remember the nineteen-seventies?“ From that opening line, we glean the fact that Boy’s Life is a relic play - a relic in that it marks a time and place in the story of human history. Just as Jack starts off reminiscing of some bygone era of disco and gas rationing, Boy’s Life forces us to do the same.
The time and place are a late 1980s New York thinly disguised through the omission of specifically mentioned geographic locales. Still, women wear sheer nylony spandex material for running complemented with shocking pink and blue leotards. The subject, as the title informs us, are boy’s…or are they men? Or boys? I still can’t decide, and that’s obviously the point. It’s the central topic being investigated by playwright Howard Korder, director Michael Grief, and the three lead actors Jason Biggs, Rhys Coiro, and Peter Scanavino.
The play was originally produced twenty years ago in the late 1980s, and we the audience are immersed in that oft mysteriously sentimentalized decade. Along with those emblematic running suits and tacky colors, the show gives us a slew of many more references from the character’s concern of ‘catching’ AIDS to 80s anthems blared during scene changes. The effect is executed perfectly and never disturbs a particular balance necessary to create the world truthfully but still give those of us in the audience the thrill (and chill) of 80s nostalgia. Naturally, the strength of Howard Korder’s script helps, but Grief and team always walk the subtle line in tandem with the words.
So is it really worth our time to sit here watching these three particular men in this particular place in time? More pointedly, do we have anything left to learn or laugh about from this twenty year old play? Lastly, is there any hope for these men or are they, like men of all ages, doomed? The short and more interesting answer perhaps is yes, they are doomed. This play is far from a tear your heart out tragedy, though. The show has real heart to it, but it’s all done with John Hughes hilarity, most likely making it’s way in through meiosis of Korder’s own time and place while writing this play. The comedy, the wit, and the humanity in the script along with all the performances are executed and exposed with such specificity and clarity along with the verve of the 1980s world.
Jason Biggs, whom many more will identify with his film career, proves himself to be a man of the theater. His awkward interactions will most likely recall, probably much to Mr. Biggs chagrin, those sex comedy romp character from his acting past, but they will only be compared after much conscious thought. As the eager, earnest, and anxious Phil, he provides most of the pure comedic element, with well earned laughs while making his performance and part integral to the plot.
As Don, the more high energy, passionate, and simple yet eloquent (but still confused) part played to full hilt by Peter Scanavino, we get to watch a young boy being initiated into that club of men because of a woman. It’s a performance that we can watch at once hopefully and also with some sadness as he makes mistakes while moving into that somehow indefinable station of being a man. It’s difficult to tell whether it’s the ambivalence written into the part or Mr. Scanavino’s performance, but for whatever reason, his performance that night felt a bit forced. It could (and most likely is) a mirroring of the actor’s own confusion in the presence of the written part, and I’d be curious to see the different choices and learned lessons the actor explores from a continuous run. Notably, Mr. Scanavino braves the stage in the buff, further alluding to the challenging nature of the part. Thinking back now, it’s easy to recall many, many beautiful moments in the performance that stick with you.
Lastly, we must mention Jack as Rhys Coiro. It’s a great part that must be played no-holds-barred. Jack is the married charming rascal bad-boy who is constantly tempting fate. The challenge is that it must be played so as to offend while it simultaneously endears us to him. Mr. Coiro delivers, fully. He slips right into that acid tongue and is so damn funny and sometimes downright hateful. We can’t help but identify with him on some level, at least by the end of the night. It’s a fascinating character played by the actor with the necessary nuance to deliver something authentic and subtly thrilling.
All three performances fall under the category of the ‘must-see.’ As for the women who outrank the male character at least in number, they’re played competently. Unfortunately, this is a show about men despite the women (and sometimes girls) outnumbering the quantity of men in the show. With that said, these supporting parts are all played competently. Also, the costumes by Clint Ramos and the set by Mark Wendland are right on the mark. So go visit the 80s as imagined by Korder, Grief, and company. With so many wonderful performances and overall theater elements, and at a brisk (and staple) 90 minutes, Boy’s Life definitely entertains.
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