The Temperamentals

There are flaws in Jon Marans play (which sometimes seems more like a social studies lecture than drama) and it needs a great cast to overcome them. Fortunately, the talented Chris Baldock has such a cast under his direction. Between them they could surely overcome anything.

The play chronicles the formation of the Mattachine Society, the first step in the politically active gay movement. Set in the late ‘40s and early ‘50s it tells of a time when true selves were buried deep in the closet, where wives were taken as “beards”, where even touching another man’s hand could mean a criminal charge and the loss of respectability, where conversations were held in code and Temperamental meant Gay. What’s missing in the first 20 minutes is the epiphany for the political, sometimes bullying, Harry Hay …the catalyst for him forging his manifesto and pushing others to follow. We want to know what has caused him to be so driven, instead there’s a lot of exposition which seems at times like a history lesson, and we learn so much “what” at the expense of “why?”. This is, after all, a docudrama, but sometimes the drama takes second chair. However, nothing can truly detract from the performances and the production overall. Five real life characters set out to change the world, and conquer the audience in the process.

Angelo De Cata (Harry Hay) shows us once again how great acting can be when it comes from deep inner truth. In “reality” a quite small and gently spoken man, De Cata becomes on stage a charismatic towering physical presence, fuelled by passion and anger and righteousness, and yet still overcoming his own fears about making the ultimate statement of who he is. He’s dominant, and yet afraid. It’s another mesmerising performance from an actor who seems incapable of anything less. Tim Constantine (Rudi Gernreich) is the perfect counterpart, submissive and yet manipulative, committed more to Harry than to the Manifesto which could bring his world crashing down. The two actors create a true intimacy, one which is palpably real - and we almost feel like voyeurs for watching. Constantine’s European sophistication is beautifully measured against De Cata’s aggressive butchness. Jai Luke (Bob Hull) is wonderfully camp and impressive as Harry’s friend and fellow founding member, but he also impresses in various other roles, including that of the straight lawyer. Angus Cameron is warm and endearing as Chuck Rowland, and plays half a dozen other roles with varying success. Sebastian Bertoli (Dale Jannings) brings great empathy to the slightly thick sacrificial lamb ex cop….destined, in court, to be the test case supposed to open the doors to freedom. This fine ensemble cast works within the instantly recognisable framework of Baldock’s honest and thoughtful direction. And the piece of film at the beginning, warning of “Gay stranger danger”, is a great directorial touch. The minimalist set…with the signature Mockingbird chairs once more to the fore, and painted stylised floor, works brilliantly, and Jason Bovaird’s subtle and effective lighting design deserves loud applause.

This is an important production for anyone under 35 who is gay….it is part of your heritage and history and deserves awareness and acknowledgement. It’s an important play for a straight audience because it instils knowledge with a thousand tiny pinpricks and helps us understand that no-one makes a choice to be beaten up, vilified, treated like a pariah because of his/her sexual makeup, it is simply who you are. Marans never addresses the subject, still pertinent today, of why “straights” are so fearful of “gays” and these brave men are of an era where they never asked that question either. Mostly though, this is an important production because, as is Mockingbird’s manifesto, it is truthful, thought-provoking, and excellent theatre…and we can never get enough of that.

Coral Drouyn