3rd
Annual New York International Fringe Festival 
**Fringe Excellence Awards given out August
29th**"Messages for Gary" by Patrick E. Horrigan At New York Performance Worksc Reviewed by David Roberts for Theatre Reviews Limited  It
has been suggested that a person's epitaph could be written by carefully
examining the check book register she or he leaves behind (whether
in hard copy or in the on-line banking register). That is, as much
as "we are what we eat," "we are (in the end) what we spend." Perhaps
something of who we were/are can also be determined by what others
say about us or by the messages they leave for us on our voicemail.
An ancient version of this abstraction might be the messages early converts left in the catacombs for Peter and Paul. While they ate lunch (so the speculation goes), they scrawled in the pavement beneath them and on the walls around them, "Peter, pray for us! Paul, pray for us!" These early "voicemail" messages articulate much about the two recipients; namely, that they were trusted, respected, significant colleagues who were thought to be capable of intercessory success. "Messages for Gary" is the story of the life and times of Gary, a young gay activist, as revealed almost entirely through the messages left for him by family and friends and others on his answering machine at home. While we listen to the transcribed messages being "delivered" to Gary (Steve Minow), we see Gary moving about his apartment and entering and exiting the space from time to time. He exercises, dances, opens and closes windows, performs household chores, and takes medication. Often it seems. This medication is prescribed (and those prescriptions renewed) by his physician whose messages we frequently hear on Gary's voicemail. From her messages we also learn that Gary is in therapy. From Gary's therapist, we learn that Gary terminated his therapy. From the messages left by Gary's family, we discover there is considerable tension between Gary and his parents, particularly his father. We also learn Gary is involved in a variety of activist causes and self-help groups, and workshops. We hear the voices of friends who have come to depend on him and his commitments to the causes they share. These voices are demanding and pleading and exasperating. Patrick (John Epperson) in particular, is dogged in his persistence at calling and leaving messages and expecting Gary's presence at meeting after meeting. If Patrick fails to reach Gary at home, he calls him at work. Eventually we discover why Gary doesn't always return calls to his friends as quickly as they would prefer. And we also learn much about those who call Gary. Some are intrusive and demanding, some are needy and vulnerable, some simply want an exchange of information, some, like his straight friend in Athens, Ohio, seem dependent on Gary's acceptance and advice. Whatever their agenda, all these callers ultimately are more concerned about themselves and their needs than they are about Gary. Voicemail messages become volumes of ego-speak of a generation of friends plagued by pain, oppression, anger, and death. Pinning their hopes on a Michael Dukakis victory, Gary and his friends battle the demons of homophobia and cultural despair. Mr. Minow and the ensemble cast do justice to Patrick E. Horrigan's script, quickly moving from character to character giving each a distinctive personality and agenda. Though the audience learns much about Gary from "listening" to his voicemail messages, it is from Gary himself that we learn the nature of his illness and his need to escape his intense pain. "Messages for Gary" is a unique and intense theatrical experience. Though directed with skill and care, this important play needs all it characters (especially its lead) to be seen and heard at all times from every vantage point within the venue it's playing. Blocking needs to be adjusted so venue "sight lines" do not detract from the drama's important action. Gary's friends often say (especially if he doesn't return their calls) they are "concerned and worried" about him. What we eventually ascertain is that Gary and his friends are coping with new problems and new challenges which their families often do not understand. They are, it seems, living on borrowed time in a society which cares little to really know who they are what they need to live a fulfilling life. Hopefully, this poignant play will have an extended run or a run in a different venue in the near future. It is well worth seeing. Reviewed on Tuesday, August 24, 1999 "MESSAGES FOR GARY" By Patrick E. Horrigan. Directed by Iris Rose. Sound design by Eric Thompson; lighting design and stage management by Mark T. Simpson. Presented by Paul Lucas at New York Performance Works, 128 Chambers Street (at West Broadway). In August at the New York International Fringe Festival. Final performance was on Sunday, August 29, 1999. For information on the Festival visit http://www.fringenyc.org WITH: Starla Benford (Gary's mother et al), Todd Butera (Greg et al), John Epperson (Patrick et al), Alex McCord (Amy et al), Steve Minow (Gary), Kevin Townley (Michael et al), Bob Yarnall (Gordon et al), and Christopher Zorker (David et al). |