Theater Online - New York Theater Reviews

    Currently playing at the Wings Theatre in the West Village, “Gay Slave Handbook” chronicles the live of three unlikely friends over the course of twelve years. Part of Wings’ continuing, ‘Gay Play Series’, the work takes place in three acts, subtly marking significant chapters in the lives of Giulia, Jimmy, and Sebastian.

 Opening at the funeral of beloved, openly-gay teenager –friend, boyfriend, and role model– the script falls somewhere between Michael Cunningham’s, “A Home at the End of the World” and the early 90’s film, “Threesome”. At times the monologues and clichés are heavy handed and predictable, while at others the quips are so well placed that they have the audience laughing out loud (i.e. references to Tori Spelling’s television career or the reverent use of Elvis’ former Graceland estate). Written and directed by Blake Bradford, “Gay Slave Handbook” departs from his standard work in television and affords him the opportunity to do that which he describes “can only really happen on stage”.

In the period of 95 minutes, we go from the gentle beginnings of young love, through the grips of sadness, depression, and rage, and finally into dissolution and understanding. Viewed independently, Giuila, Jimmy, and Sebastian fall a little flat as characters, but taken as a whole, the audience has an opportunity to fill-in the missing pieces and gain a better understanding of their interdependence on one another. Sebastian needs Giulia by his side for levity and Jimmy for inspiration; Jimmy finds love in Sebastian and stability in Giulia; Guila relies on both Jimmy and Sebastian in order to survive.

Played by Jackie Byrne (Guilia), Peter Carrier (Jimmy), and Justin Maruri (Sebastian), each of the performers share the stage fairly equally. At points we are drawn to Sebastian’s poignant and emotional dialogue, at others it’s Peter/Jimmy’s innocence, and with Jackie it’s her timing and apparent emerging talent. Admittedly, the first scene lacks energy and is drawn a little thin with its attempt at establishing foundations, but before the end of Act III the actors and the play have picked up enough speed to forgive them of their former sins. Past personal success, marriage, and even terminal illness, it’s the finality of the groups’ individual and collective relationships that provide the play’s ultimate deliverance.

Modestly staged –with a varied score and mixed attempts at incorporating multimedia– Gay Slave handbook play well in its surroundings at the Wings Theatre. Under 99 seats, the venue has faced its own unique struggles as of late, but [thankfully] through it all continues in its efforts to present new and unique material for the stage.