See it if taking a trip back in time to the "gay days" of the 1960's and experience an typical gay party and all its delicious mayhem. Ready? Good!
Don't see it if you have no personal reference, interest, or insight into the gay experience, because this play will blow your socks off - sexually speaking Read more
See it if you like being a fly on the wall, watching a friend group implode at a party. Outstanding performances from a well known cast. Shame to miss
Don't see it if that sounds like too much conflict for you or dislike gay themed shows or you want to see women on stage. All characters & actors are male.
See it if you want to see a surprisingly still relevant and resonant classic performed flawlessly. This cast in dynamite, and the script feels fresh.
Don't see it if homosexuality makes you uncomfortable, not interested in seeing humans annihilate each other verbally, or only want happy, light fare.
See it if You like campy gay theme
Don't see it if You are a homophobic
See it if fantastic cast to play out this story. funny sad realistic of gay life at that time.
Don't see it if cant think of a reason not to unless gay themed play not your thing
See it if Powerful drama with Tony Awards written all over it.
Don't see it if If you can not deal with the gay topic, it is not for you.
See it if you love a thought provoking play that resonates with you once you leave the theatre. Outstanding acting. Relevant story. Don’t miss it!
Don't see it if you are not fond of watching gays being themselves. Some themes and imagery may not be suitable for everyone.
See it if Shocking in closeted 1968, this Off-Bway play comes back to 2018 life on Bway with a stage-full of famous, gifted, out-gay talent. Go!
Don't see it if "Camp"; affection between men; depiction of the vicious gay self-hatred that preceded Stonewall & the emergence of a gay community.
"A starry but disconnected revival...I wish I could report that this charismatic and capable team transported me vividly and uncompromisingly into the dark ages of homosexual life in these United States, and that I shuddered and sobbed in sympathy. But...the show left me largely impatient and unmoved...There is one superlative performance, however, that provides the show with its most genuinely moving moments. That comes from Mr. de Jesús."
"It has mostly aged well: It has resonance and snap. While the star casting is not completely effective—Quinto is too knowingly attractive to play Harold, and Bomer’s marble-god physique seems wrong for the bookish Donald—the cast meshes convincingly, and there are many fine, small moments...At its most effective, Mantello’s 'The Boys in the Band' moves beyond the gay past and stares the present straight in the face. We are all in the gutter, but some of us are looking at the mirror."
"A strange, somewhat removed experience...There are surely things to be enthusiastic about in Joe Mantello’s glitzy, solidly acted revival...Given that there’s something still alive, and still painful, at the heart of 'The Boys in the Band,' how does one explain the museum-piecey-ness that still overwhelms this production?...The whole thing feels like a carefully packaged luxury item, from the casting to the necessarily limited run."
"What might have been another bulletin from the distant queer past is transformed into a scintillating portrait of the self-loathing that festers in ghettoized subcultures, perhaps as much now as then...The production is sharpest when the zingers are flying back and forth, but the anger coursing through the play's veins still scalds...There's unapologetic ownership and humanity in the incisive characterizations, which banishes any simplistic perception of the play as a voyeuristic pity party."
"Both a lovingly preserved time capsule and a sometimes stark distillation of what has and hasn’t changed since its debut. His script is still funny and cutting and heartbreaking...Certain facets do feel dated, but to scrub them entirely would also feel like a denial of the truths and the time the play is rooted in. And for all the pop-culture asides and wit, it’s hardly a hollow platform for banter and bitcheries; Mantello takes care to let his characters’ messier humanity come through."
"Festivities are certainly in order for this superbly mounted 50th anniversary production...If there’s one thing this staid theater season is more than ready for, it’s a motley crew of gay friends getting together to celebrate...Crowley is a master of the bitchy one-liner, so the play is littered with quotable bon mots...Happily, a lot about the play now seems dated — but not everything, and not in all circles of society, which makes this anniversary presentation doubly welcome."
"There isn’t much to like about this emotionally evasive revival, which disserves Mr. Crowley’s beautifully, fearlessly wrought play in so many ways that I went home not merely disappointed but angry...The result is a staging that is too funny, one that gets its laughs at the expense of the raw, heartfelt anguish that is the whole point of the play. I have a feeling, though, that Mr. Mantello is at least as much to blame for this problem as are the actors themselves—maybe even more so."
"There isn’t a single moment of political correctness in it, but as a social and cultural dossier on what life was like for gay men in the Dark Ages, it still resonates with wit, poignancy, and heart-breaking truth...A play that has, in retrospect, gained insight and lost none of its power or potency. It holds up beautifully...The ensemble acting is rich, Mart Crowley’s script seems to have been written with rattlesnake venom, and the result is engrossing, sad, hilarious, and gratifying."