Michael Urie

photo by Jeff Ellingson

First, there was the buzz. Then came the explorers before the opening. And now, you have to get in line. The Temperamentals has caught on with a vengeance. It’s already up to the tee shirts, caps, umbrellas, tote bags and campaign buttons. The buttons are free with every ticket and the rest is for sale in the crowded lobby to the continuing audience of predominantly gay, middle aged customers. Demographics has yet to solve the pitch to the young market who are the beneficiaries of the protagonists the play has built on and who doubtless view the tribulations as ancient history. After all, gay is so here. Well, yes, but who knew?

The Temperamentals is centered around the beginnings of gay politicization in Los Angeles in the early 1950’s by founding fathers Harry Hay, Communist, Rudi Gernreich, fledgling fashion designer unknown at the time, Chuck Rowland, Bob Hull and Adam Jennings, all real people, all braver than hell. There are lots of others in the story, some famous, some as courageous, mostly not. The love story between Harry and Rudi is funny, scary, moving, with a predictable ending. The political story raises hackles, if you’ve got ‘em. When Harry met Rudi, it was all over. Harry, angry, political, married, with family, fell in love with the talented kid from Vienna, a refugee bent on becoming rich and famous. Harry had written a Gay Manifesto which he wants to proclaim as a political movement. Rudi knows how the Nazis treated gays, thinks it’s the most dangerous document he has ever seen, joins his lover in starting the as yet unnamed organization, tries to recruit what famous movie contacts he has already garnered in his climb to success and comes up empty. Being homosexual in Hollywood is what everybody knows in the underground but so bad for business, no jobs, no fame, no money, and no movies. Vincente Minelli is terrified, enchanted, but likes his prestige, even the reflected glory from his famous wife, gives lip service to Rudi but stays well back in the closet.

They recruit Bob Hull, mad, funny, irrepressible Bob and his lover, Chuck, much more cautious, not one bit crazy. Both swear to the manifesto, and then insist that all of them must vote unanimously on any moves the organization takes. Dale’s involvement grows out of compassion: he has been arrested, victim of a police sting. His options: plead guilty pay a big fine, lose his job but remain free, with no publicity. Or plead innocence and gather the storm of publicity as a branded homosexual in a trial. The solution Harry and Rudi propose is draconian. Their organization is really born then.

Playwright Jon Marans writes with wit, passion and skill. The almost cinematic chronicling of the story of Harry and Rudi, their wildly unlikely organization and its success should long have been a movie except for the obvious difficulties of Hollywood’s readiness to feature real names and real situati Playwright Jon Marans writes with wit, passion and skill. The almost cinematic chronicling of the story of Harry and Rudi, their wildly unlikely organization and its success should long have been a movie except for the obvious difficulties of Hollywood’s readiness to feature real names and real situations. He is brilliantly served by an extraordinary cast and a superlative director. Michael Urie is giving an award winning performance as Rudi. Thomas Jay Ryan, as Harry, is bed rock for the production. Tom Beckett, as Chuck, and several other characterizations, is amazing; Matthew Schneck finds a million colors as exuberant Bob and several other clearly different people, while Dale Jennings is brought to vigorous life by Sam Breslin Wright. Director Jonathan Silverstein has kept his story threads and his character entanglements woven and knotted, continuously absorbing. He uses Clint Ramos’s set so effectively its bone simple design becomes all the elaborations he demands. Ramos also designed the costumes and every stitch works. Most of all, Silverstein underscores the statement playwright Marans has found through Harry’s evolution: we are all different and we are all the same.

TBG Theater, 312 West 36 ^th Street, 3^rd floor. Tickets: $50. smarttix.com or 212-868-4444. Fri,Sat,Sun,Mon,Tue. 8 pm. Mats, Sat, Sun 3 pm.