City Rep play examines emotional aspects of early AIDS crisis

JOHN BRANDENBURG
For The Oklahoman
Modified: November 13, 2012 at 2:29 pm •  Published: November 13, 2012
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photo - Brian Hamilton, Michael Corolla and Scotty Taylor appear in Larry Kramer's Tony-award-winning drama “The Normal Heart,” making its Oklahoma premier this weekend at City Rep. Photo provided
Brian Hamilton, Michael Corolla and Scotty Taylor appear in Larry Kramer's Tony-award-winning drama “The Normal Heart,” making its Oklahoma premier this weekend at City Rep. Photo provided

“The Normal Heart” is a play about social, cultural, political, moral and medical events, connected with the outbreak of the AIDS epidemic, and people’s reaction or lack of reaction to it, in the early 1980s.

But the script by Larry Kramer is also a great play, as an Oklahoma City Repertory Theatre production of it made clear, in a Saturday afternoon preview at Civic Center Music Hall, 201 N Walker.

Directed by Rene Morenot, it was performed in 16 scenes, projected on a side television screen at Civic Center’s Freede Little Theatre, on a modern, minimal set designed by Amanda Foust.

Helping to create the mood of the period, too, were music, lighting and a wall of background imagery, suggesting the end of the disco-dominated ‘70s and the beginning of the Reagan ‘80s.

Jonathan Beck Reed was fiery yet deeply sympathetic as AIDS activist and author-surrogate Ned Weeks, who finally finds his true love, only to lose him to the illness in the moving finale.

Pacing himself and avoiding overplaying the juicy role, Reed got across both the energy and “colossal ego” of a writer who could be his friends’ and his own worst enemy, as well as that of his adversaries.

Matthew Alvin Brown gave a light, well-modulated performance as Felix Turner, a lifestyle writer for The New York Times, who prefers the good life to the good fight, until he falls in love with Weeks.

Drew Pollock brought more than rugged good looks to Bruce Niles, a bank vice president and ex-Green Beret who doesn’t want to be as outspoken or “out” as Weeks, but has his own inner strength.

Particularly powerful was a scene in which Pollock as Niles described the incontinence of his dying lover on a flight back to Phoenix to see his mother, and the eventual disposal of his ashes.

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