BROADWAY SNAP-SHOT
by Russell Bouthiller

Dateline: 27 March, 2003

THE LAST SUNDAY IN JUNE

In Jonathan Tolins' new play, THE LAST SUNDAY IN JUNE, the eponymous date refers to the annual Gay Pride march that culminates in a spirited fair on Christopher Street. Perched on his window sill, scanning the hordes of parade-goers on the street below, Michael (Johnathan F. McClain) wryly announces that he is "over the rainbow" while his partner of seven years, Tom (Peter Smith), frets over choosing the right outfit. As the rest of their world passes by their Greenwich Village abode, Tom and Michael aim to skip the celebration to go shopping for house-wares for their prospective new digs in suburbia.

Of these two young professionals, Michael is the driving force behind giving up "the life" for a life in the mainstream. He concedes that he no longer likes gay men, except for sexual purposes. Tom, on the other hand, is not so jaded. He would rather spend this last "Last Sunday" surrounded by friends in their tiny flat overlooking the one-time hub of the alternative lifestyle.

Tom prevails and, in no time, a gaggle of giddy gay boys representing various demographics fill the living room set. Among the first to arrive is Joe (David Turner), a young man who is relatively new to the scene and a very quick study. Joining him is Brad (Arnie Burton), an HIV-positive, savvy cynic who has done it all and is willing to do it over. And, completing this first batch of buddies is Charles (Donald Corren), whose age allows him to recall the earliest days of the movement when there was actually something to protest.

In what might have been called "The Boys in the Band; The Next Generation," Tolins' THE LAST SUNDAY IN JUNE presents a host of Twenty-first Century gay stereotypes grappling with the cultural acceptance of homosexuality and the post-Apocalyptic ennui that has helped define the modern-day subset. As Michael, Tom and company search for their place in this "Post Gay" era, Tolins bluntly and cleverly scrutinizes the genre of the "Gay Play" by having his characters posit the notion that they are, in fact, performing in a gay play.

The plot of this postulated play-within-a-play takes an odd twist when an old boyfriend of Tom's arrives. James (Mark Setlock) is an embittered veteran of the gay scene. A competitive Ivy-leaguer whose poorly received novel, "Circuit Boy," details the debauched doings of a recalcitrant party-goer, James has become burnt by the life, one he sees as corrupted by superficial vanities and anonymous sexual encounters. James has decided to go beyond the rainbow. In fact, he is literally "getting out" by getting married to a woman.

Racked with shock and consternation, the group decides they must perform a gay "intervention" to straighten him out. They invite to the apartment James's intended in hopes of unraveling her wicked designs. Susan (Susan Pourfar), however, proves well-prepared for the onslaught as well as her upcoming unconventional union. Susan's presence shatters the "Gay Play" formula, a fact she points out when she speculates that if this were a gay play, she'd probably be doing costumes.

A stalwart tradition of the genre is maintained by the appearance of Scott (Matthew Wilkas), the requisite buffed-out, blond-boy hunk. As Charles points out, such characters are critical. "Who else do we put on the poster?" But, Scott turns out to be far more than the moronic Midnight Cowboy from Mart Crowley's THE BOYS IN THE BAND. This six-pack comes with brains, brawn and self-confidence.

Under the precise direction of Trip Cullman, Tolins's vivid characters are fully realized and his crisp dialogue handily timed. Matt Setlock (FULLY COMMITTED) boils over as the seething writer, James. Donald Corren (TORCH SONG TRILOGY) reigns supreme as Charles, the astute dowager. Susan Pourfor steals the spotlight with her droll rendition of the lone female. And, Johnathan McClain succeeds admirably in bringing shades of light to Tom's dark outlook on life.

THE LAST SUNDAY IN JUNE is a bold work that warmly embraces the customs and culture of the "Gay Play" while turning it on its head. Like Tolins' THE TWILIGHT OF THE GOLDS which opened on Broadway in 1993, THE LAST SUNDAY IN JUNE looks to the future in terms of gay issues. In this work, while charming us with brilliantly funny dialogue, Tolins gently asks: "Where have we come from?" and "Where are we going?"

THE LAST SUNDAY IN JUNE enjoyed a critically acclaimed, six week run at the Rattlestick Theatre in Greenwich Village and will resume performances at the more spacious Century Center just off Union Square on April first.