The Cult of Antinous

Scandalous Boy

When the lights come up on Director Benjamin Mills’ production of SCANDALOUS BOY, we find what we at first think is a handsome, totally naked young man assuming a classical pose. He represents the likeness of one of hundreds of marble statues from antiquity of a man named Antinous. He’s known as the beloved sexual companion of Roman Emperor Hadrian, a ruler known particularly for his strong border, called Hadrian’s Wall. Then we realize that the attractive actor isn’t completely naked but simply clad in a flesh-colored dance belt. And, I might add, he wears it rather well.

 Suddenly the statue comes to life and the eloquent adolescent called Antinous begins narrating the story of his life, as it played out during the 1st century A.D. of the Roman Empire. While he slips into a pair of glittery short shorts, the young man explains that, to make his story easier for today’s audiences to understand, it will be framed within a more familiar 21st century setting and recounted as a contemporary chronicle. And thus will commence the tale of the Cult of Antinous.

Although Hadrian was married, like most wealthy Romans, the Emperor had many homosexual relationships. It was not controversial or perverted; it was simply considered normal for that time. In fact, in those days many youths were groomed by their own mothers to become sexual companions for attracting affluent, powerful older men. An Eromenos, as they were called, could thus help support his family at a much younger age. These men were beautiful, beardless and ultimately became the sole possession of the elder lover. 

Written by Australian playwright David Atfield, the story of a three-year relationship between Antinous and Hadrian is told chronologically and historically accurate. It’s also filled with explicit candor. We witness the handsome young man engaged with other senior sexual partners before he attracts the attention of the Emperor. Theatergoers also meet Sabina, Hadrian’s lovely wife-to-be, and witness her sad journey from unhappily abused Empress to vindictive victim. We get to know Lucius, once Hadrian’s beloved Eromenos, but now a festering older and jealous member of the Emperor’s court. And finally we encounter Marcellus, a good-looking wrestler who Antinous meets at the gym, and with whom he falls in love. However, we eventually discover that Marcellus has his own ambitious agenda. 

The production is presented at the intimate Open Space Arts Theatre, a venue that seats a mere 20 theatergoers. The simple, but elegant, Set Design by Dylan Tye Davis is dominated by a large bed, festooned with silky curtains that can be arranged to provide a modicum of privacy for the many scenes of sexual content. The Set is framed by a lovely, maroon swag drapery that gives the tiny space a touch of class and opulence. Brett Morgan’s Costume Design is equally simple, often beginning with a more contemporary look that’s further accented by classically Roman-flavored adornments.

The cast is uniformly very good, beginning and ending with Jose Alexander Martinez’s affable and attractive portrayal of Antinous. Think of Timothee Chalamet, bare-chested and in sparkly hot pants. Mr. Martinez steps in and out of the story, acting as leading character, narrator and commentator on the other characters. This is his acting debut, but Jose is primarily known around Chicagoland as a talented scenic painter and designer. I think that may change with his portrayal of this gutsy, text-heavy role. He’s matched by a talented, more seasoned Chicago actor in the role of Hadrian. Jordan Gleaves, while making his Open Space Arts debut, has wowed audiences at City Lit, Remy Bumppo, the Goodman and TimeLine Theatres. Mr. Gleaves brings strength and authenticity to his realistic, multilayered portrayal of Hadrian. Gleaves makes this Hadrian, definitely not a Wall, but an open book of many different emotions.

The supporting cast features Chinese actor, Jinyue “Yuna” Hu as both Sabina and in the cameo role of Antinous’ mother. We feel for her Empress as she’s humiliated and raped on her wedding night; but later we applaud her moxie as she eventually gets the upper hand by avenging her subservient position with the Emperor. Antonio Cruz, who’s been seen in productions at Theatre L’Acadie, Imposter Theatre, Steel Beam and others, is strong as Lucius. His jealousy and antagonism toward Antinous grows, particularly as Hadrian’s love for his new boy becomes more ardent and all-consuming. And Emiliano Flores is convincing as Marcellus, the gym rat who seduces Antinous with his wrestling moves, good looks and youth. Soon the audience realizes that this kid is ambitious and harbors a devious plan for his advancement.

David Atfield’s historical play will no doubt be a big hit with GLBTQ+ audiences, especially as Gay Pride month consumes Chicago. The story is filled with scantily-clad actors, depictions of sexual content, some moments of physical violence and plenty of profanity, including a liberal use of the F word. There’s no question that Benjamin Mills’ production is definitely adult entertainment, and will be especially popular with the more liberal-minded theatergoer. A warning: at nearly 100 minutes without an intermission, the folding chairs can get rather uncomfortable for audiences packed tightly into this pocket-size space. On the other hand, the intimacy of Open Space Arts puts much of the action practically in the patron’s lap. Thus everyone in the room eventually becomes a card-carrying member of the erotically-charged Cult of Antinous.              

Recommended

Reviewed by Colin Douglas

Presented May 23-June 8 by Open Space Arts, 1411 W. Wilson Ave., Chicago.

Tickets are available at the door or by going to their website, www.openspacearts.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com