Company: Pride Films and Plays
Venue: Pride Arts Center (The Broadway), 4139 N. Broadway
Some theater is so compelling, timely and complicated, you can’t wait to dissect it like the frog in your AP biology examination tray. After seeing Pride Films and Play’s production of Douglas Carter Beane’s “The Nance”, the story of a performer both embracing and at odds with his stage persona, I wanted a deep look into this frog’s digestive tract- I mean, into the history of New York burlesque theater, and the titular stage ‘Nance’. For as much scrutiny as “The Nance” characters face at the famed Irving Place burlesque theater, the stereotypical effeminate gay character has had a long tenure in films, plays and television; but the question that author Beane poses is, what if a burlesque ‘Nance’ was portrayed not by a straight stage comic, but a gay performer, as a means of placing a toe juuuust outside the closet in the repressive 1930’s?
At the onset of “The Nance”, Chauncey Miles (played with fantastic world-weariness by Vince Kracht) is at the apex of popularity on the 1930’s burlesque circuit for his extremely effeminate comedy stylings. The cost of doing this kind of show business as morals-and-ethics Czar Paul Moss begins cracking down on deviance onstage is utter secrecy and caution. However, when Chauncy meets Ned (Royen Kent), his private world begins to open up. The two men embark on a relationship when all they can usually expect is to meet lovers quickly under the watchful gaze of policemen at the Automat. They find legitimacy denied them at every turn, and while Chauncy has come to expect this on a personal level, he cannot stomach to see his act suppressed one bit. He and his onstage cohorts (Patrick Rybarczyk, Britt-Marie Sivertsen, Steph Vondell, and Melissa Young) feel the sting of closing avenues for their racy exploits. What will survive the crack-down is only what is nimble and can change with the times. And that’s the question: will Chauncy survive?
Director John Nasca and music director Robert Ollis have their work cut out for them in this fantastically compelling piece of theater, but have spared no expense in putting us at a 1930’s burlesque review, complete with exposed bulb footlights and a tiny but boisterous house band. The costumes are big, gaudy and faces are covered in bright greasepaint. This is one production I hope audiences feel enough at home to get into the burlesque hooting and hollering.
The show really rests in the capable hands of Vince Kracht, the simultaneously winning and conflicted Chauncy. His self destruction comes from his propensity to side with those government entities that have labeled his act stage deviance and jailed him. Unlike communist leaning Sylvie (Melissa Young) or naive Ned, Chauncy is inclined to agree that he is a social menace, only that he ought be recognized as a talented one. He holds to his belief that nothing he does will alter public opinion of him, and his brand of maligned comedy will come back with time. Though anger and sadness fuel Chauncy, Vince Kracht maintains a mad-cap glee throughout. Even as he chooses passivity, inaction, and says to the man he loves, “I want to be used and discarded because I like it. It’s what I deserve.”
You hope for Chauncy what you would hope for anyone that has placed themselves beyond rescue’s reach; that the pleas of the activists and bleeding hearts in his wake do something to turn his tides.
“The Nance” is mirth and heartbreak. It’s the last laugh you will have before your world falls apart. It’s a quick and dirty vaudeville revue wrapped in a crisp, tailored jacket. You will love it, and it will hurt you.
TEN WORD SUMMARY: When it’s not the act that’s too risqué, it’s you.
DICE RATING: d12- “Heckuva Good Show”