By Ron Fassler . . .
In the years since the AIDS crisis first loomed in the 1980s, there have been many plays on the subject. Is there such a thing as too many? Has everything that needs to be said been said already? If so, then what about new plays set in the turbulent 1960s or the depression era of the 1930s? For me, devastating times will always have the power to offer dramas of theatrical merit, which leads me to recommend David J. Glass’s new play, Love + Science, currently running at New York City Center Stage II through July 6. Without condescending, it makes a plausible connection to the Covid-19 pandemic and what that virus brought up in people on the right and left of the political spectrum. Much to his credit, Glass explores the similarities between the two epidemic/pandemics—and not in a pedantic or predictable fashion. Though the story is somewhat thin, what with how truly cataclysmic the time was, points are still scored and the overall effect is potent.
In the play’s opening scene, a pair of pre-med students meet cute on the day of their graduation from Columbia University. Matt (Matt Walker) and Jeff (Jonathan Burke) discover their mutual interests in medical research and men (they’re both gay). Jeff is more out of the closet, though Matt has certainly not been shy out in the world. He worked as a bartender at Studio 54 to support himself through school under its real-life owner, Steve Rubell (Tally Sessions), who makes an appearance early on before dying from AIDS. Matt and Jeff perform their studies in a retrovirology lab under the direction of a female scientist, Professor Gold (Thursday Farrar), and become involved in the early days of both misidentifying and then correctly identifying AIDS; first as a gay cancer, then later in its accurate identification as a virus. They become romantically involved with one another until the fear of sex in the midst of the crisis drives Matt to end the relationship. Delving into what gay men needed to do to both make themselves safe and feel safe during this time is shown for the psychological minefield that it was.
A turning point in the play comes when Matt and Jeff come in contact with their first AIDS patient, Gary (Adrian Greensmith), who is also the first whose death leaves its mark on them. The realistic manner in which this scene is played, under the sensitive direction of Allen MacLeod, brought back vivid memories of my own personal experiences with friends in the hospital, all of whom died during the scourge of AIDS. The fact the play doesn’t play its hand too heavily in this scene, as well as in a number of others, is a credit to the playwright, director, and actors, all of whom acquit themselves well.
Actor Matt Walker’s bio mentions he attended Julliard but is also a neuro-biologist with a degree from Harvard. Sounds like a major career switch occurred, especially since he is currently pursuing a Ph.D. in genetics at Columbia. No reason he can’t excel at both disciplines, but it’s certainly rare to read about in a program bio. And is it a coincidence that the playwright, David J. Glass, is a Senior Lecturer at Harvard Medical School and that the character Matt Walker plays is named Matt? Curious minds want to know.
Walker gives a well-balanced and sincere performance as Matt. It’s not an easy role, considering the multiple changes of heart and mindset he has along the journey. But he offers naturalism, even if his craft is still in an embryonic stage. Jonathan Burke is a relaxed presence throughout, easily giving us a sense of a bright and energetic man comfortable in his own skin. I was impressed with the empathy put forth by Thursday Farrar’s scientist, as well as Imani Pearl Williams, who performs admirable work in a number of roles, most especially as Melissa, a fellow scientist and friend to Matt. Everyone is good, from Tally Sessions, who assays a trio of roles, each one completely different, to Ryan Knowles, who also displayed a talent for diversity in a number of parts. I particularly liked Adrian Greensmith, who is apparently making his stage debut in this show. He brought a beautiful spontaneity to the role of Gary, an AIDS patient who receives his deadly diagnosis with pain and perplexity, in addition to playing a student in the final scene who gives as good as he gets in a highly charged confrontation.
The sets (Zoe Hurwitz), lighting (Samuel J. Biondolillo), costumes (Camilla Dely), and sound (Jane Shaw) are all simple and effective. I appreciated the modesty with which the play was produced, showcasing how much can be done with very little. Good things often come in small packages and Love + Science is a very good thing.
Love + Science. Through July 6 at New York City Center Stage II (131 West 55th Street, between Sixth and Seventh Avenues). www.nycitycenter.org
Photos: Emilio Madrid
