"The Twentieth-Century Way," Long Beach Playhouse Studio Theatre, by James Scarborough
August 06, 2018
INTRODUCTION. In 1914, the city of Long Beach hired two men to work as bounty hunters. Their pay? $15 a head. Their quarry? Social vagrants, i.e., gay men. Exposure for these social vagrants meant humiliation, a fine, prison, exile, or, in one case, suicide. This true story inspired The Twentieth-Century Way, written by Tom Jacobson and directed by Reed Flores for the Long Beach Playhouse Studio Theatre.
The premise, direction, and acting are top notch. Problem is, Jacobson couldn’t leave well enough alone. Had he let the story unfold on its own terms, he’d rivet us to our seats. The story’s an abomination that could narrate itself. Instead, he confuses us with constant character changes and doubts about the production’s message. Sure, these kaleidoscopic changes and doubts suggest a gay man’s experience. Irrespective of era, he’d have to role-play. Lead double- and triple-lives. Live under the threat of exposure. Trust no one. Still, the final scene (No. Spoiler. Here.) goes over the top. It confirms that Jacobson, too clever by half, tried to pack too much into an otherwise simple, compelling story.
WHAT'S IT ABOUT? The story begins at an audition. The role? Con man. Brown (Christian Jordan Skinner) waits but no one shows up. No director, no fellow actors. No one. Then Warren (Noah Wagner) appears. Warren is older. Compared to the younger Brown, he’s cockier, more worldly. To pass the time, Brown devises an improvisation game. It begins with Warren’s indecent proposal. Let’s become entrepreneurs, he says. Let’s work with the Chief of Police. We can masquerade as social deviants to entrap the men. We’ll make a fortune.
Then begins a complex back and forth of role playing. Victim. Lawyer. Vice cop. Journalist. At times, the men break out of character to comment and clarify. Yes, they get confused at the velocity and unexpectedness of these role changes, too. The action escalates. We wonder, is this really an improv game to pass the time at an audition? Or, is Warren a cop? Is Brown? Is one, are both gay, with the game a means to feel out the situation? We never learn, conclusively because Jacobson piles too much into the story.
WHY DOES IT MATTER?
The production sheds light on what, until now, was a little known, shameful chapter in the history of Long Beach.
It shows the timeless war that government wages on sexual integrity as well as the ability of theatre to bring this war to life.
WHO SHOULD SEE IT?
People for whom inclusion, compassion and empathy are second nature.
People for whom it isn’t.
In other words, everyone.
WHAT SHOULD I FOCUS ON?
Wagner’s and Skinner’s ability to follow and expand upon each other’s plot twists.
Their non-stop repartee despite their spontaneous role changes.
Their skill to make us wonder, Are each of them what they really seem to be?
THE VERDICT? Though it’s too complex for its own good, this otherwise successful enactment of a cruel story deserves to be seen. The most remarkable thing about this remarkable story: too focused on their own fulfillment, neither character seems to have remorse for the lives they ruined.
HOW DO I VISIT? Performances are 8 p.m., Friday & Saturday; 2 p.m., Sunday. The show runs until Saturday, August 18th. Tickets are $20. The Playhouse is located at 5021 East Anaheim Street, Long Beach 90804. For ticket and other information, call (562) 494-1014 or click here.
You can watch a 1:15 trailer here.
Photos courtesy of Michael Hardy.