Stage Notes: REVIEW: Uptown Players' 'Torch Song'

Philip Cole White in Uptown Players’ ‘Torch Song.’ (Courtesy photo)

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Review: Torch Song packs a wallop of dramatic and comedic punches

When I spoke with Philip Cole White about taking on the role of Arnold in Torch Song, he said that it’s been the hardest thing he’s done in his theater career – and we should be thankful. The result was a true gift to the audience. His tour de force was truly something to behold that was only lifted up more by an equally able cast.

Uptown Players opened Harvey Fierstein’s revival Torch Song which he personally edited down from his Torch Song Trilogy. Originally played out around four hours, this revival is still lengthy with each act well more than an hour. But Fierstein’s storytelling and director Cheryl Denson’s well-paced direction made for a perfect combination in this limited run.

The story follows Arnold, a drag queen and singer who longs to find love and in some ways, a certain sense of normalcy attributed to more heteronormative standards: the husband a house, a child. Along the way he meets Ed (Leroy Hood), a bisexual man who Arnold connects with deeply. Ed is still sowing oats and he’s also attracted to women; Arnold waits desperately by the phone for him to ring. But there is still something underneath all that each man clings on to. Even when Ed marries Laurel (Elizabeth Kensek) and Arnold and new young beau Alan (Paul Bond) go to visit for a weekend – there’s still something there. As Arnold seemingly moves on, he’s adopted David (Max Rudelman), a promiscuous gay teen who is caught in the middle of not only Ed and Arnold, but Arnold and his charismatic but overbearing Ma (Diane Box Worman).

White led an outstanding opening night and he was right. He had a lot of dialogue to learn but the way it rolled out of him displayed his deep dive into Arnold. His immersion into the character was phenomenal that there was no trace of the actor on stage – just Arnold. White was ebullient and flamy and delivered monumental laughs with snappy reads and queer quips. In his more dramatic scenes, particularly with Worman, White was heartbreaking or deeply tender in intimate moments with Hood and Bond. Watching White onstage in Torch Song was like watching magic unfold.

Even more magnificent was the rest of the cast. Everyone was fully committed to their characters. Hood had the next-most stage time and delivered such charm as Ed – even when audiences should (or were) be mad at him for the way he led on Arnold. Hood was sexy without being distracting who evolved into this conflicted character. Hood navigated those emotions nicely while never losing Ed’s baseline charm and personality. His chemistry with White was spot-on. Watching their relationship unfold was equal parts lovely and frustrating.

Kensek gave the Laurel some major supportive-wife energy who recognized the dynamic of her bi husband and his ex-lover but always played the progressive role by giving Laurel strength and confidence. Bond was personable and delightful as Adam. He made a big impression in his one lone scene but enough of one that it’s felt in the second half.

The scene-stealers were certainly Rubelman and Worman who brought levity and big personality to the second half. Rudelman channeled all his twink powers to deliver a showstopping performance that matched White’s energy. As Arnold’s mother, Worman’s brought sitcom energy onto the stage in the best way. Her expert performance often mirrored White’s in many ways to reflect he’s certainly his mother’s son. As the two head into a fierce argument, Worman brought out a side that most queer men may be familiar with but that was nonetheless jarring.

Denson led a near-perfect show from its cast to the clever sets designed by Donna Marquet that rotated in and out for scene changes. Costumes by Suzanne Cranford fit each character’s personality and reflected the late ’70s-early ’80s time period nicely. Jason Foster also really created an array of moods through their lighting.

In a time where most plays lately are 90-minutes sans intermission, Torch Song‘s length may be of concern to some but it’s a rich, layered story that fulfilled each minute onstage (OK, but the final scene in Act 1 did run a bit too long) thanks to the Uptown Players team and its commitment to Fierstein’s landmark piece.

Torch Song runs through Sunday at the Kalita Humphreys Theater.

Opening this week:

Dallas Symphony Orchestra: Dvorak’s New World Symphony, today and Saturday at the Meyerson.

Second Thought Theatre: Dry Powder, today-April 30 in Bryant Hall at the Kalita Humphreys Theater.

B Street Theater: Bars and Measures regional premiere, today-May 1 at Bishop Arts Theater Center.

Stage West: What to Send Up When It Goes Down, today-May 8.

TITAS/UNFILTERED: The Rose Room on Tour – Drag Disco Show, 8 p.m. at the Winspear.

On stage now: