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TIME: Almanac 1995
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1995-02-24
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<text id=94TT0601>
<title>
May 09, 1994: Theater:Flatfoots and Footlights
</title>
<history>
TIME--The Weekly Newsmagazine--1994
May 09, 1994 Nelson Mandela
</history>
<article>
<source>Time Magazine</source>
<hdr>
ARTS & MEDIA/THEATER, Page 76
Flatfoots and Footlights
</hdr>
<body>
<p> In Cincinnati, a blunt, gay-themed play attracts the vice squad
</p>
<p>By William A. Henry III
</p>
<p> Broadway audiences are often abuzz about celebrities in their
midst. When Brad Fraser's Poor Super Man opened last week in
Cincinnati, however, the TV-news crews and the theatergoers
they accosted were talking about spectators so anonymous no
one knew their faces. They were from the police vice squad,
checking whether the show's frontal nudity, simulated oral and
anal sex, and blunt language violated public decency. "A lot
of people wanted to be at this performance," said Ensemble Theatre
artistic director David White, "because they weren't sure there
would be another."
</p>
<p> In New York City or Los Angeles, Fraser's deft and epigrammatic
work about a romance between a gay man and a straight, married
one would not seem startling. Indeed, his equally raw Unidentified
Human Remains and the True Nature of Love played off-Broadway
for months in 1991. But as the crusaders of the culture wars
point out, there is more to America than its coastal metropolises.
In Cincinnati, where Oh! Calcutta! was shut down briefly in
1974, where a museum was prosecuted in 1990 for displaying the
late Robert Mapplethorpe's photographs, and where an antigay
ordinance was enacted last November, the play is potentially
shocking--so much so that Ensemble Theatre, which commissioned
the world premiere, voted at one point to cancel it. "A number
of directors who are involved with big corporations in town
felt queasy," says board chairman Paul Rogers. Ultimately the
board decided that dropping the show would contravene the troupe's
commitment to new plays (its season has also included a world
premiere of Fragments--A Concerto Grosso by Edward Albee,
now running in New York City, and The Rights by Lee Blessing,
now in Marietta, Georgia). Artistic director White offered one
concession: no one under 18 would be admitted. White's position
was bolstered by a donation of more than $6,000 from local gay
businessmen, who lauded the theater's courage but chose to remain
anonymous.
</p>
<p> Almost lost in the furor was the play itself, an unflaggingly
witty and often moving slice of life among the young, hip and
artsy in Calgary, Canada. A gay painter (Michael J. Blankenship),
blocked in his work, tries to jolt himself by taking a job as
a waiter. To help the young couple who own the restaurant, he
induces his closest female friend, a beguilingly bitchy columnist,
to tout it in print. The place thrives. So does passion between
the painter and the young husband (Damian Baldet, a conservatory
student giving a captivating and confidently professional performance).
</p>
<p> This isn't simply a coming-out story; it's about a much less
categorical sexual phenomenon. The husband remains attracted
to women, not men, save for this one man, whom he devours. The
result is misery for everyone--although no one is quite as
miserable as the painter's roommate, a transsexual dying of
AIDS. Mark Mocahbee has staged a supple, swift-paced and solidly
acted production, minimalist save for screens that display the
characters' unspoken thoughts. And the vice squad? They came,
they saw and this time they decided the show may go on.
</p>
</body>
</article>
</text>