Redtwist Theatre presents THE NORMAL HEART.
The COVID-19 pandemic was life-changing. The global health crisis was the impetus to understanding. A virus plaguing the world started as a news story and became very personal, very quickly. Everyone was impacted by the novelty of coronavirus. What were the symptoms? How is it transmitted? Who is more vulnerable to it? How is it treated? Why isn’t the government having a unified response? Where is the source of the most reliable data? And the biggie, how can we stop it from killing more people?It’s through this lens of forced experience, I revisited and more deeply empathized with Larry Kramer’s THE NORMAL HEART.
Kramer penned a semi-autobiographical retelling of the AIDS epidemic. Set in the 80s in New York City, he addresses the varied responses to a plague affecting gay men. The healthcare system is baffled. The media is disinterested. The government is non responsive. And the gay community is divided. Should they loudly demand gay rights? Or quietly canvas for change without pissing off the establishments? Kramer’s portrayal of the fervent chaos resonates in a post-coronavirus world.
Director Ted Hoerl stages the show in traverse style. The stage is long with seats lining two walls. Although this brings a level of intimacy for the audience, the space doesn’t yield the same experience for all audience members. Anyone sitting north of the entry door has no action in front of them. The closest they get to the actors is the back of their heads. These dozen guests (and I was one) will spend the entire show with their head cocked left/right (depending on the wall). This is especially uncomfortable given that the running time exceeds the posted ‘120 minutes + intermission’ by ending at the 185 minute mark.
Despite the awkward staging and lengthy storytelling, Hoerl orchestrates solid performances from the principals. In the lead, Peter Ferneding (Ned) is excellent! His hotheaded passionate responses feel organic. The zealous Ferneding goes on an emotional roller coaster of self-discovery for every show and straps the audience in for the journey. He tirelessly argues every issue to the point of estrangement from friends, family and the audience. As much as we are rooting for him to win, we also are hoping this time he’ll be a little more savvy in his approach. Ferneding perfectly balances between champion-of-the-people and annoying blowhard.
Ferneding generates plenty of friction between his friends played by Philip C. Matthews (Bruce), Joshua Servantez (Mickey), and Cameron Austin Brown (Tommy). The foursome serve on the Gay Men’s Health Crisis committee. Each of the guys challenge Ferneding to see a different perspective, their perspective. Although closeted Matthews leads with a calm and assured demeanor, his memorable moment is sharing the horrific details of a personal tragedy. His pain is palpable. And for being this buttoned-up guy, Matthew visibly and heartbreakingly crumples onstage… I choked back a sob.
An exasperated Servantez is recognizable as the friend that straddles between conflicting points of view. He tries to make the peace, accept the person and provide rational insight. We know that friend, we love that friend! Servantez builds this strong connection which makes his meltdown particularly gut-punching. His vulnerable resignation is the white flag nobody wants. And Brown supports Servantez with an unexpected and quiet strength. Throughout the play, Brown interjects humor and sensibility with cheeky one liners. Yet, it’s his tender, understated actions which reveal unforgettable humanity. And nod out to Christopher Meister (Ben) who shows amazing depth of character in his transformation.
Kramer tells a powerful story of relationships during the early days of the AIDS global health crisis. He also chronicles the baffling, disinterested, nonresponse and divisive reaction by the world to this murderous plague and in turn, the gay community. Forty years later, THE NORMAL HEART is still relevant for its historical content, political commentary and relational navigation.
Running Time: Three hours and five minutes includes a delayed start and an intermission
At Redtwist Theatre, 1044 W. Bryn Mawr
Written by Larry Kramer
Directed by Ted Hoerl
Performances are:
Thursdays, Fridays, Saturdays at 7:30pm
Saturdays, Sundays at 3:30pm
Thru September 29
For more information or tickets
Photography by Tim McGrath
For more Chicago theatre information and reviews, please visit Theatre in Chicago