For centuries, science and religion have been at odds with one another. So too have religion and homosexuality. Mix the three together, and the result is "Next Fall," an intelligent and thought-provoking dramedy now playing at Ann Arbor's Performance Network Theatre. Written by first-time playwright Geoffrey Nauffts, "Next Fall" explores the five-year relationship between two gay men: an atheist and a deeply closeted Evangelical Christian. As you might expect, it's not a match made in heaven!
At first glance, most people would give Adam (Andrew Huff) and Luke (Kevin Young) little chance of surviving a single date, let alone a multi-year, live-in relationship. The two meet at a party thanks to the Heimlich Maneuver: Cater-waiter Luke performs it on attendee Adam. What follows is a one-night stand that quickly develops into something more – much to the chagrin of both their friends.
Adam, you see, is a 40-year-old hypochondriac with a sharp wit and even sharper tongue. Unhappy and working below his training and potential at a candle shop, Adam is an Average Joe who seems to have a track record of dooming anything good that comes into his life. That includes Luke, a 20-something hottie who left law school to pursue a career in acting. Although the two encounter the typical ups and downs most new couples experience, the most contentious is religion: Adam doesn't believe in God, and ridicules Luke for his strong and unquestioning faith. And Luke's failure to come out to his family adds to Adam's frustration.
So when Luke is seriously injured in a traffic accident, Adam must deal with not only a hospital that doesn't recognize his relationship with their patient, but also Luke's out-of-town parents who swoop in and take charge of their son's care.
Neither sits well with the often-caustic Adam.
Nauffts' story unfolds in the present day, but uses a storytelling device that's become rather common in recent years to help flesh out the details: the flashback. It is a slickly constructed work that tries (and mostly succeeds) to shed light on issues that have come under the microscope in the years following the passage of anti-gay marriage laws throughout the country. It also draws attention to a spiritual struggle many gays and lesbians face: How do you follow a religion that some adherents believe teaches your relationship is sinful? And if you claim to be a practicing Christian, how do you justify knowingly and willingly having sex with – that is, sinning with – your partner?
It's a subject rarely discussed on stage with such passion and frankness – although Evangelical Christians and those well-versed in Christian dogma may find fault with Nauffts' simplistic presentation of their faith. (Luke's rebukes to Adam's rants are rather light on theology.)
Also working in the script's favor are Nauffts' carefully drawn characters. And the groundwork he's laid is enriched by the fine work of director Ray Schultz and his team of designers and actors. From the smallest gestures to the props, much attention to detail defines this work. If there's a minor quibble, though, it's the two-hour running time that seems a little long. (That's mostly a script problem, however, not Schultz's.)
Several performances stand out – beginning with Barbara Coven's delicious performance as Arlene, Luke's mother. Divorced from Luke's father for 20 years, Arlene is a Southerner whose wild ways resulted in her son being raised by his father and eventual stepmother. As played by Coven, she's a delightfully colorful, but loving "character" who storms not only the hospital waiting room, but also the hearts of those seated in the audience.
In an unusual casting move, Luke's holier-than-thou father, Butch, is played by John Seibert. Known and loved for his work in musicals and comedies, here he's called upon to play a strict and stern businessman whose life is guided totally by the bible. When he stuns his son with a racist and anti-gay statement, Luke's decision to come out of the closet is suddenly reversed. Instead, he burrows deeper into it. Although Seibert is playing against type, it's yet another noteworthy performance from this award-winning performer.
Fine support is provided by Courtney Myers as Adam's friend and boss, Holly, while Rob Pantano is memorable as Luke's friend, Brandon.
But the stars of the show are Huff and Young – two straight guys who fearlessly "play gay." Although they share only one significant kiss, the two are totally believable as a couple – from the way they look at one another to the playful ways they touch each other.
But of the two, Huff has the most difficult character to bring to life. Because of Adam's sarcastic temper and biting sense of humor, it would be easy for audiences to quickly dislike the character. But Huff finds Adam's humanity and lets it shine. And watch his every move: Each gesture is carefully planned, so that not only does every line of dialogue tell the story, so too does the body language. (I'm sure this didn't happen, but I'd swear on a stack of Butch's bibles that Huff studied a certain friend of mine when preparing for this role. It's THAT realistic!)
The story takes place on a two-level set by Monika Essen framed by three video screens onto which projections are flashed to help identify the location of each scene. Adding to the character of the show are lights by Janine Woods Thoma and sound by Ken Faulk.
One line in the play's second act implies "everyone needs something" – and that's certainly true in "Next Fall." But it also applies to theatergoers who enjoy a stimulating night at the theater. They need to head to Performance Network Theatre and check out what could be the most intellectually stimulating, yet thoroughly entertaining production of the summer.
REVIEW:
'Next Fall'
Performance Network Theatre, 120 E. Huron St., Ann Arbor. Thursday-Sunday through July 3. $22-$41. 734-663-0681. http://www.performancenetwork.org
