In 1890 the German playwright Arthur Schnitzler wrote “REIGEN” (also known by its French title “La Ronde.” It dealt with the sexual mores and class distinctions of the day and was found to be quite shocking and immoral. Therefore, it was never produced until 1920. Since then, its unique structure has spawned numerous stage adaptations including “The Blue Room” starring Nicole Kidman and even a musical version called “Hello Again” in 1994. There were also 4 gay versions of the play: Eric Bentley‘s “Round 2” (1986) , Jack Heifner‘s “Seduction” and Michael Kearns‘s “Complications” (2004) and the play being reviewed, Joe DiPietro‘s “F**king Men” (2008).
“F**cking Men” adheres to the original’s structure. Two actors in the first scene either have had or are about to have sex, in one form or another. Then one of them appears in Scene Two with another character who then appears in scene Three. This pattern continues until we have come full circle (hence the title La Ronde) back to the actor from Scene One whom we have not seen since the play’s beginning. It is a very intriguing structure and one especially well suited to a play about gay men and the sexual multi-partner activities which is the norm, at least according to the variety of men from all socio & Economic backgrounds who appear in DiPietro’s play. The message is basically an optimistic one even if it does have traces of extreme cynicism sprinkled throughout: Don’t give up and you will eventually find love, or at least a good f**k! Even though the message is hammered hard in a few scenes, under Steve Rosenbaum’s smart direction, the play maintains a brisk pace throughout its 90 minute runtime (no intermission, so do what you have to before the show begins!)
The play’s physical set by design by Jason Reale is simple yet effective. Two screens, one on either side of the stage, show a brief prelude to each scene delivered by a character while other projections (designed by Nathan Cox, who is also credited with the production photos accompanying this review) create scenic elements throughout the show. The rest of the set is simply composed of black cubes rearranged to be whatever is needed in the scene; a bed, a chair, etc. The lighting by (Mariah Pryor) does its job well by helping to define the spaces throughout the play, giving a variety of looks to the various scenes.
Most of the actors play more than one role, reappearing sporadically throughout the play in different guises. It is a testament to both the direction by Steve Rosenbaum and their acting abilities that it is always clear when a new character or a reoccurring one enters the scene. Though everybody pulls their weight actingwise, there were a couple of standouts. Jason Reale is very effective as a soldier just starting to deal with his gay fantasies and as an Oscar winning actor on the make and using his stardom to get laid. He manages to be both amusing and terrifying in the former role while showing little conscience when it comes to getting what he wants in the latter role.
Playing opposite Mr. Reale’s predatory actor role (did anyone say “Kevin Spacey?”) is Alex Price whose overly serious playwright and artiste is laugh-out-loud funny as he is led astray by someone he believes is way above his grade-level. At the same time, the ego can get shaken when the people that you want to have sex with all tell you to not talk! But the playwright turns the tables when he threatens to out the Oscar winning actor unless given a position as a writer on the actor’s upcoming film. In the next scene, the actor decides to out himself on a podcast with a closeted host.
“F**cking Men”, produced by The Bent, is playing at the Palm Springs Cultural Center now through Oct. 27, 2024. For further information or to buy tickets visit their website at www.thebent.org.