'Boys In The Band’ (Press, 4 August 1984)

"The Boys in the Band," a play by Mart Crowley, has been directed by John Jeffries for the Riccarton Players and is showing at the Mill Theatre from 1 to 11 August 1984. The story unfolds in Michael's New York apartment during a birthday celebration for Harold, where a group of friends gathered for an evening of festivities. The mood shifts when Michael's straight friend Alan calls to join the gathering, creating a sense of unease among the predominantly gay group. The production notes emphasize that while the play features homosexual characters, it transcends this label, presenting homosexuality as just another aspect of life. Written in the 1960s, the play's relevance is maintained in Jeffries's contemporary interpretation, which incorporates modern music, costumes, and decor, ensuring it does not feel dated. The reviewer, Claire Marsh, draws parallels to Tom Stoppard's "The Real Thing," highlighting the clever, fast-paced dialogue and the characters’ tendency to mask their true emotions beneath a veneer of sophistication. The first act is described as light-hearted and witty, while the second act gradually delves into deeper, darker themes. Michael's poignant line at the end—"If we could just not hate ourselves so much"—captures the emotional complexity of the narrative. Although the pacing of the production could benefit from more dynamic movement and levity at times, it maintains an authentic emotional depth throughout. The cast is praised for their performances, with standout portrayals including Ross Gumbley's strong interpretation of Donald, Howie Thompson's flamboyant characterisation, and Phil Foster's sensitive depiction of Larry. Richard Capstick's Hank transitions from stridency to compassionate vulnerability, while Neil Gudsell brings warmth to Bernard. Jason Ealey's Cowboy serves as a comic foil, and Gary Johnstone effectively portrays the contrasting character of Alan, adding conflict to the dynamics. Central to the play, Judd Millner's nuanced performance as Michael delves into the complexities of the other characters’ façades, leading to a powerful climax. Overall, the Riccarton Players have delivered a challenging, provocative production that resonates with humour and emotional weight. Unfortunately, the reviewer notes that audience attendance was low due to the cold winter night, notwithstanding the play's warmth and potential messages for thoughtful viewers.

The text on this page is created, in the most part, using Generative AI and so may contain errors or omissions. It is supplied to you without guarantee or warranty of correctness. If you find an error or would like to make a content suggestion please get in contact

The text on this page is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 New Zealand