The Love That Dare Not Speak Its Name

Brokeback Mountain

The first thing that must be said about this production is that, contrary to rumors, this is not a musical. It’s also not a carbon copy of Ang Lee’s critically acclaimed film from 2005, that starred the late Heath Ledger and Jake Gyllenhaal. It’s a unique, 90-minute one-act play with music. The tiny onstage house band, led by music director, conductor and pianist Jacob Yates, is tucked into a shadowy corner of the playing area, but is always present and in view of the audience. The musical quartet provides a soulful, country-flavored soundtrack that beautifully enhances the mood and atmosphere of the story. Dan Gillespie Sells’ score also features songs that Kat Eggleston performs as the Balladeer. As such, she becomes a kind of one-person Greek chorus, whose poetic commentary resonates as the story unfolds. But there’s no uptempo, over-sung pop hits or a cute chorine chorus tap dancing across the windswept Wyoming prairie. This is a drama, with a few moments of humor, that’s agreeably embellished by a subtle, country/western soundtrack.

First published as a brilliant short story in The New Yorker in 1997, Ashley Robinson’s theatrical dramatization is a faithful adaptation of Annie Proulx’s 1997 heartbreaking work. Like the source material, his play is as sparse, straightforward and unadorned as the Wyoming mountains and plains, in which the story is set. Proulx’s novella is about a same-sex relationship or, as Alfred Lord Douglas and Oscar Wilde called it, the love that dare not speak its name. 

This is the poignant story of Ennis Del Mar and Jack Twist, two young Wyoming ranch hands who meet and fall in love in the early 1960’s, while working together herding sheep on Brokeback Mountain. The play explores the young men’s deep, intense connection with one another that lasted for decades. Despite going their separate ways, marrying and having children and working at different jobs, the two men can’t quit each other. They find ways to meet regularly to continue their secret relationship, but their lives become complicated by a fear of being discovered and by society’s blatant homophobia. Unfortunately, the prejudice, irrational fear of gay love and the hostile attitudes and actions by certain individuals still exists today. Ennis and Jack try, against all odds, to make their secret love work. But despite all their efforts to make it work, the love  story between Ennis and Jack ends in longing and heartbreak.

Beautifully staged by award-winning English theatrical and film director and choreographer Jonathan Butterell, his work at Chicago Shakespeare Theatre is absolutely breathtaking. Working closely with a team of talented theatre artists, the production relies heavily upon the fight and intimacy choreography devised by Zev Steinrock. The play features Tom Pye’s appropriately weathered period costumes and a somber environment that’s continually changing. A crackling campfire appears and disappears, a double bed rises from below the stage floor and then silently vanishes, and a kitchen sink and dining table pop up and then leave when not needed. The two-level setting is also embellished with rocks, dirt and prairie grass and shrubbery, continually reminding us of this desolate locale. David Finn’s evocative lighting creates both interior and exterior illumination, as well as day and night and highlights snowstorms and Spring breezes, given a voice through Chrisopher Shutt’s sound design.

But the power of this play is in the capable hands of two incredible actors. As Ennis, the shy, young loner is played by New York-based actor, choreographer, writer and producer, Harrison Ball. A former dancer with the NY City Ballet, Mr. Harrison demonstrates stature, power and grace in the role of this guarded, reticent young cowboy. He’s spent his life denying an attraction to other men and working hard to keep his homosexuality hidden from his family. Thrust into a close working and living relationship with the truly likable, gregarious and charmingly boyish Jack Twist, beautifully portrayed by Jack Cameron Kay, the barriers melt away when the two are forced to share a small tent together. Seemingly with no one to see them, the boys’ loneliness gradually vanish as their love and passion for each other grows. Mr. Kay is superb as  Jack, the eager and energetic young rodeo star who shares a passion and adoration of his coworker and beloved buddy, whom he will simply call, “Friend.” 

In addition, a handful of supporting actors play the smaller roles in this story. Thomas Cox, who’s been seen at Lookingglass, Steppenwolf and the Goodman Theatres, plays Joe Aguirre, the owner of the large herd of sheep that the boys are hired to oversee. Like a chameleon, Mr. Cox is almost unrecognizable also playing Bill and Jack’s bitter father. Lovely, talented Cordelia Dewdney, who was recently seen in ASHLAND AVENUE at the Goodman, is excellent and heartbreaking as Ennis’ loving wife, Alma. Alina Jenine Taber makes a touching cameo appearance as Lureen, Jack’s wife. And Balladeer Kat Eggleston steps from the band onto the stage to portray Jack’s quietly melancholy mother.

Jonathan Butterell’s beautiful, heartfelt production of BROKEBACK MOUNTAIN brings Annie Proulx’s short story to life in this North American Premiere. Originally enjoyed at London’s Soho Place Theatre, Ashley Robinson’s script has changed a bit. Instead of being a memory play, relived by an older Ennis Del Mar, the love story now evolves chronologically in real time. We see how Ennis’ unrestrained passion for Jack first began and eventually consumed them both. 

This poignant play, filled with so much emotional depth, uses music to enhance and comment on the men’s repressed emotions. It stars two handsome, charismatic actors who totally throw themselves into their roles with complete honesty and conviction. The chemistry between Ball and Kay is undeniable. But theatergoers be warned that this powerful play is strictly for mature audiences and contains nudity and adult situations. It is, however, the perfect way to kick off Gay Pride Month with a play that’s particularly topical today, about the love that dare not speak its name. 

Highly Recommended

Reviewed by Colin Douglas

Presented May 28-June 28 by Chicago Shakespeare Theatre, in the Courtyard Theatre, 800 E. Grand Avenue on Navy Pier, Chicago.

Tickets are available at the CST box office, by calling 312.595.5600 or by going to www.chicagoshakes.com.

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

Photos by Kyle Flubacker