Sex, Lies, and Hollywood Dreams Collide in Craig Lucas’s Disturbing Shocker, ‘THE DYING GAUL,’ Now Playing at Island City Stage

Compromise your principles for the almighty dollar. Would you do it? How far would you go? What about the repercussions? … For yourself? Your family? Society at large? Nowadays, it feels like we’re confronted with this question daily – especially when it comes to actions taken by our government and industry leaders. Twenty-seven years ago, award-winning playwright and screenwriter/director Craig Lucas (best known for his 1991 Pulitzer-nominated “Prelude to a Kiss”) proposed this quandary, and a whole lot more, in THE DYING GAUL: a groundbreaking psychological thriller set in the high-stakes world of traditional Hollywood and nascent online chat rooms. 

Hailed in 1998 as the year’s Best American Play by both the Wall Street Journal and USA Today, you can now catch Island City Stage’s lacerating South Florida premiere of “The Dying Gaul” through June 15. The play’s title references a famous, ancient Roman statue that depicts a wounded warrior in his final throes of life. It’s a powerful visual tied to the play’s central theme of dealing with the painful death of a loved one, survivor guilt, and difficulties with moving on. As Island City’s artistic director Andy Rogow explains, Lucas’s script, set in 1995, “examines the complex professional and sexual relationship between Robert, who wrote a screenplay about his boyfriend who died of AIDS, and Jeffrey, a movie studio executive, and his wife, Elaine. Jeffrey will only commission the script if the main character is changed to a woman and the plot focuses on heterosexual relationships.”

What a perfect, thought-provoking storyline for the popular Wilton Manors theater whose mission includes engaging diverse audiences with entertaining, challenging, and inspiring productions, while often exploring the LGBTQ+ culture. Craig Lucas’s expertly crafted play hits many of these bases. The visionary playwright was also among the first, as noted by Variety’s Terry Morgan, “to recognize the dramatic potential of the internet – a blank slate where one could pretend to be anyone, though not always without consequence. The Web is oddly suited to theater, where one can assume myriad personas, but like any human drama, life online can veer into tragedy. In ‘Gaul’ Lucas has written a story of uncommon emotional depth and subtlety, a tale in which failed redemption curdles into revenge.” 

Island City’s widely acclaimed associate artistic director Michael Leeds does a phenomenal job directing all the highs, lows, quirks and compulsions exposed in this “Modern American Tragedy” with an A-list cast. We enjoy unforgettable character portrayals by prestigious NYC-imports Amir Darvish (as Jeffrey) and Jorge Amador (Robert), joined by award-winning local favorite Autumn Kioti Horne (Elaine) and multi-credentialed Ted deChatelet (Dr. Foss). 

We can tell we’re in for an exciting, out-of-the-ordinary experience as soon as the lights dim to pitch black and we’re surrounded by throbbing techno music (sound design by David Hart). Suddenly the stage glows (lighting design by Ardean Landhuis) to reveal a striking, modern row of columns (still reminiscent of Hellenistic temples) where somber actors stand at attention like Greek gods, while one reclines in the “dying Gaul” position. This spare, dramatic set later serves as the movie studio mogul’s lavish home where constructed and painted “vistas” suggest the distant horizon – a truly impressive feat by always-original-and-memorable scenic designer Alyice Moretto-Watkins, with set construction by MNM Theatre Co./JB Green & Jordan Armstrong, props by Denise Proffitt, and illusion design by Evan Northrup. 

And where else would we be introduced to Buddhist enlightenment as accompaniment to our theatrical experience? Many a scene opens with ornate quotes from a Buddhism Brochure (like a 12-step program to Grace). It’s how young, grieving Robert attempts to make sense of life’s unfairness that has some of his closest friends – including his agent/lover (and love of his life) – randomly dying from the scourge of AIDS. Robert, who wouldn’t hurt an ant (in case it’s his deceased lover, reincarnated) battles many demons, including ongoing thoughts of suicide. 

And while we continually hear about his horror at animal slaughter (a human-like pig’s anguished cry, in particular, is said to have sounded like his lover’s last breath), he appears okay with mercy killing to prevent further pain. And is not averse to lashing out at his concerned psychiatric therapist (the same one who’d earlier treated his boyfriend) and blaming him for not being around for Malcolm’s final moments. Their psychiatrist, Dr. Foss, who repeatedly says he’s always on call, happened to be vacationing overseas at the time. He will later admit to having become too personally involved with their case. Everyone in this tale hides a hidden layer or two … or ten, and even “sweet,” naive Robert may prove that once one kills (even in mercy), it’s not such a stretch – whilst driven by outrage and despair – to attempt to kill again. 

So, what do I think of the characters and actions in this most provocative of plays? Every attendee will leave with multiple opinions, and even more questions. I’ve been doing a lot of thinking in the ensuing hours, and overnight, after the show, and foresee weeks of mental deep dives to come. Like life, which is messy and unpredictable, Lucas’s story is multi-layered and contains no easy answers. But having worked in LA’s film industry as both screenwriter and director, as well as experiencing the personal tragedy of his frequent collaborator/lover – theater- and film-director Norman Rene’s death from AIDS as a prelude to writing this script – I am certain he knows whereof he speaks.

For Hollywood’s prejudice against same-sex representation at the time, we get Jeffrey’s adamant “realistic” explanation of why Robert must rewrite the sex of his dying gay character as a woman. “You are looking for something universal” Jeffrey states. “No one goes to the movies to have a bad time, to learn anything or be improved.” And he closes with: “Now if you make Malcolm a woman who’s dying of AIDS, we will give you one million dollars for your script.” He sweetens the deal by complimenting Robert’s brilliance – “There are about 20 of you in the world” – and allowing him gay minor characters. And we’re fascinated. Not just by watching this master manipulator at work, but also by his insights into the 1990s film industry. (Meanwhile Robert, who desperately wants to honor his gay lover, might be swayed by simply affording to ditch his always-flooding-when-it-rains cheap basement apartment.)

With Darvish, we also quickly realize we are in the presence of a true master actor. In his deeply nuanced portrayal of Jeffrey – smarmy, sexy, self-centered, proud, needy and still deluded about his own sexuality – Amir Darvish brilliantly manages to tread the fine line between monster and victim, allowing us to see more humanity in his soul than he sees himself. 

And he’s perfectly matched (maybe not in “marriage” but in thespian skill) by local wonder actor Autumn Kioti Horne in the role of his wife, Elaine. In the play, too, Elaine plays a “role” as trophy wife, with varied success. She enjoys the Hollywood lifestyle of the rich and famous and claims to have made peace with the facade of a loving husband who will occasionally stray to play with boys yet remain faithful to his marriage and their two children. (I still maintain we’re designed to crave a soulmate sort of love and while “open marriages” of yesteryear or today’s popular “polyamory” might work, for a while, they only last until one party falls hopelessly in love, and then all bets are off.)

Horne will keep your interest in any character she portrays. I was recently blown away by her depiction of an icy, calculating private-equity firm partner in Boca Stage’s production of “Dry Powder” and, at first, wondered if she’d been typecast as a heartless bitch. Then again, I’ve seen her shine in all sorts of unique roles ranging from comedy to absurdity – there appears to be no challenge too daunting for South Florida’s leading lady, Autumn Kioti Horne. 

As if just to prove me wrong re any “typecasting,” Act II sees Elaine dissolve from mischievous games with Robert’s heart to growing shock, horror, and a complete breakdown when her carefully curated life is upended by hidden “truths” that may or may not be true at all. We sit gasping and overwhelmed by Horne’s emotionally wrenching final performance. And, once again, I’m impressed by how prescient our playwright was in predicting the hidden dangers of believing what you hear online decades before social media frenzy took over the ether and changed everything.

If you want to see a play that will hold you over through the summer, don’t miss the South Florida premiere of Craig Lucas’s THE DYING GAUL, playing now through June 15 at Island City Stage, 2304 North Dixie Highway, Wilton Manors 33305. For tickets visit www.islandcitystage.org or call 954-928-9800.