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The Boys Next Door
Also see John's recent review of Psycho Beach Party
The Boys Next Door was first introduced to me when I saw a production of it at the Dallas
Theater Center. I can still remember how the end of the first act left me sobbing. The respect the
actors had in portraying mentally challenged people with dignity and realism moved me in ways words
cannot express. This play is not to be an evening of an audience cooing and whispering, "Oh, isn't that
cute?" It is a piece that tries to show the audience that there is a mind working under the mental and
physical problems that these people are dealing with from day to day.
Since that time I have seen several productions of Tom Griffin's play about four mentally challenged
men living together in a community that is specified for them. Some productions were superb, and yet
others simply did not achieve what the piece was meant to be and represent. I had some apprehension
about seeing another production of this play; my last viewing of this play did not go well. But my
apprehension was calmed when, at the end of act one as the lights dimmed, I once again felt tears well
up in my eyes as they did that first time at the Dallas Theater Center.
Director B.J. Cleveland has under his belt nineteen years with Theatre Arlington and more than 300
shows as actor, director, and choreographer during 32 years in the business for regional theaters and
tours, both national and international. Someone with that kind of background and wealth of experience
has to know what works for the stage and how to bring the material to life. For The Boys Next Door,
Cleveland has directed a piece that obviously shows that it comes from his heart.
As usual, the pace is right on the money. This is an element of theater that is very important and
Cleveland is keenly aware of it. He knows how to get that exposition out and going, and then knows just
when to slow down to give a scene its "moment". Cleveland's triumph, though, in Boys Next Door is
the integrity and regard he has for the material and for those who are mentally challenged. Instead of
allowing the actors or the production to become an evening of customary stereotypical performances of
over the top frenzied handicapped people, he makes sure that each actor handles his or her disability
not only as realistically as possible, but in a way that gives them individuality. It should also be
noted that I have found that Cleveland tends to select just the right pieces of music, from pop songs to
appropriate instrumentals, to play during scene changes, thus adding another layer to create a mood or
emotion.
While this cast is top notch, three actors in particular do some of their best work in this
production. Gary Payne as Arnold handles the character's paranoia with just the right dose of
overwrought hysteria: never too big, but very meticulous in his body movements and tics. The character
can rub the audience the wrong way and become annoying and a nuisance, but Payne steers clear of this
path. While he does play Arnold as somewhat of a pain in the rear, he gives the character an even dose
of sympathy and warmth. Payne's facial expressions and dead-on takes to the audience to bring home a
joke had me in fits of uncontrollable laughter. From his first entrance (with the Randy Newman classic
"Short People" playing) he has the audience eating out of his hands. Payne's comic timing and pace
consistently hit the mark throughout the evening.
Charles Ryan Roach is assigned the role of Norman Bulansky, who works part time at a doughnut shop.
Norman may have the brain of a child, but he has a heart that is devoid of hatred. Roach gives a
restrained and guileless performance. He unveils small hints of Norman's mental status through his body,
facial expressions, and voice inflections, but never goes over the top. Ryan's portrayal of Norman has
depth, beauty, and color. For the character's comic one liners, Roach keeps Norman's facial expressions
blank, as if he is not really aware that he has said something funny, but all the while delivering the
comedy with grand success. Roach succeeds in keeping Norman real and honest, not going into "Hallmark
mental decease movie of the week" acting that seems to creep into actors' depictions of the mentally
challenged. Roach has done mainly musicals and comedies, but with his work in this production, he gives
his most compassionate and challenging performance to date.
The third actor who earns kudos for giving his best performance is Dan Evers as the golf trainer,
Barry Klemper. Evers gives a shattering and deeply emotional performance as Barry, who seems to be the
most normal of the house mates, but sadly comes from a childhood that explodes back into his life in the
second act. The role really is not a comic one, although it does come equipped with very funny one
liners, comic situations, and setups. But the character has a heavy arc to follow through as the evening
progresses. Evers is truly heartbreaking in this role.
The fourth male roommate, Lucien P. Smith, is portrayed by Paris L. Ray. This is the character with
the most severe state of mental retardation. He tends to be more childlike and repeats words and phrases
three or four times. Ray has the physical demands of the role down pat, from the twitching eyes and tics
to the unique walk Lucien has. Ray is kindhearted and exemplary in his performance. In the second act,
Lucien has a meeting with the state board on his ability to either live on his own or to stay in the
custody of the state. This scene has Lucien transforming from a child living in a man's body to an
educated and well-spoken adult. Ray needs to take much more time and technique in the transformation
from Lucien's crunched and slightly crippled body into a tall and normal body structure. Ray slides too
fast in and out of the character's moment. But he is charming and delightful in the role.
As Jack, the supervisor of the these four men, Ted Wold shows great compassion and care for his
charges. Wold is relaxed and is very personal with the audience when he delivers his monologues. Wold
gives his character an underlying theme, both verbally and non-verbally: that he is stressed and burned
out on dealing with these mentally challenged men under his care. It is also a clever idea that when
Wold talks as one of the four guys, he uses a physical and/or a speech pattern that resembled him. It
makes sense that Jack would pick up some of their traits and characteristics after being with them for
such a length of time. Jack is truly empathetic to these men, but he's ready to move on, and Wold's
well-constructed performance expresses this perfectly.
Bill Miller as Mr. Klemper looks exactly as a mean bastard would look: tall, dark hair, goatee, heavy
country hick accent, and just plain wretched. But Miller needs to take more time in showing how the
silence coming from his son is just too much to bear. Miller explodes way too soon; he does not allow
that deafening quietness to swallow him in. Also, the slap that he gives Barry (Evers) is not realistic
enough and slightly cheats the moment. The scene needs to have the realism of a harsh slap for the years
of child abuse to wash over the audience in that one act of violence. It must read, "Dear god, this is
what caused him to be this way." Miller is quite good in the role; he just needs to explore the subtext
and he'll be on the same emotional plateau as Evers in that scene.
Finally, attention must be paid to Aja Jones who plays Sheila, the mentally retarded young woman that
Norman falls in love with. Jones is exquisite! She gives Sheila such innocence and warmth that the
audience just falls in love with her. But Jones stays truly committed to her character's slurred and
sporadic speech patterns and body posture. Both she and Roach have marvelous chemistry together and play
off each other beautifully. Watch that act one final scene with these two dancing and what happens in
their "own world"; it's a powerful scene.
Some pundits may say that this script can be mawkish and overly sentimental, and in the wrong hands
that can happen. But not with Theatre Arlington's mounting of Griffin's play. Its director and cast
prevent this from happening. They instead bring sincerity, respect, and tender humaneness to the play.
The Boys Next Door runs through Feb. 17. Performances are Thursday evenings at 7:30, Friday
and Saturday evenings at 8, and matinees on Sundays at 2 p.m. Ticket prices are $14 to $16 with
discounts for students, senior citizens and groups. There will be a $5 preview performance Thursday,
Jan. 17 at 7:30 p.m. with no reserved seating. Theatre Arlington offers $5 student rush tickets at all
performances with current student ID starting five minutes prior to curtain, subject to ticket
availability. For reservations and ticket information, call 817/275-7661. This production is rated PG-13
for some adult language.
The Boys Next Door
by Tom Griffin
Theatre Arlington
Director......................................... B.J. Cleveland
Stage Management..................................Cathy O'Neal
Set Design........................................Jorge Lopez-Aguado
Light Design/Tech. Direction......................Ana Petitt
CAST
Arnold Wiggins........................................Gary Payne
Lucien P. Smith.......................................Paris L. Ray
Norman Bulansky.......................................Charles Ryan Roach
Jack..................................................Ted Wold
Barry Klemper.........................................Dan Evers
Mr.Hedges/Mr. Corbin/Sen. Clarke......................Dan Nolen Jr.
Mrs. Fremus/Mrs. Warren/Clara.........................Cherre Marano
Sheila................................................Aja Jones
Mr. Klemper...........................................Bill Miller
--John Garcia
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