A Conversation with Director Aric Martin, "Love! Valour! Compassion!", Westchester Playhouse, by James Scarborough

Terrence McNally's "Love! Valour! Compassion!" at Kentwood Players explores gay male identity at the crossroads of desire and mortality. Set across three summer weekends at a lakeside retreat, the production creates an intimate space where eight men's lives intersect in moments of raw vulnerability. Director Aric Martin orchestrates these encounters with a delicate hand. He allows the humor to emerge naturally from the characters' foibles rather than forcing comic relief.

The ensemble cast moves through the lakehouse setting with lived-in authenticity, especially during the silent moments between dialogue where glances and gestures speak volumes. The production refuses to soften McNally's unflinching examination of AIDS-era gay life. It leans, instead, into the play's tonal shifts, from biting wit to devastating tenderness, without missing a beat. When the men gather for their final weekend, you'll find yourself invested in each character's journey.

This isn't just a period piece about gay men in the 1990s; it's a universal meditation on how we face our deepest fears through the imperfect but necessary bonds of friendship. Martin's direction reminds us why this play won the Tony Award. It deserves each emotional response it evokes.

Below follows an email conversation with Aric Martin.

JS: What initially drew you to direct Love! Valour! Compassion!? How does this production fit within the company’s 75-year legacy of community theater?

AM: I’ve always been drawn to stories that explore human connection in its most raw and honest form. Love! Valour! Compassion! is a deeply personal and powerful piece that delves into love, loss, and the chosen family we create. Kentwood Players has a rich tradition of staging works that challenge and inspire audiences, and this play continues that legacy. It’s a privilege to bring McNally’s words to life in a way that honors both the history and the emotional depth of the piece.

JS: The play unfolds over three summer weekends at a lakeside home. How did you and your production team approach the scenic design challenges to create this environment within the constraints of the Westchester Playhouse space?

AM: Creating the sense of an expansive lakeside retreat within an intimate theater space was a challenge we embraced. We focused on using layered scenic elements, strategic lighting, and sound design to evoke the openness of the lake while maintaining the intimacy of the house. Our set design leans into suggestion rather than literal representation, allowing the audience’s imagination to complete the world. The goal was to make the space feel lived-in and fluid, so the transitions between the play’s weekends felt natural and seamless.

JS: You’ve assembled a cast of seven actors for this production. What qualities were you looking for during the casting process? How did you work to develop the complex relationships between these characters?

AM: Since this play thrives on the dynamic interplay between the characters, I looked for actors who could bring both emotional vulnerability and a strong sense of play to the table. Each character carries a unique history, and it was essential that our cast could embody those layers with authenticity. During rehearsals, we focused on building trust to ensure that every relationship, whether fraught or affectionate, felt fully realized.

JS: McNally’s text balances humor with profound emotional moments. Discuss your approach to navigating these tonal shifts while maintaining the authentic voices of these characters.

AM: The key is to trust the script and the actors. McNally’s dialogue is razor-sharp, and when played with honesty, the humor and heartbreak naturally emerge. We worked on grounding every moment in truth, allowing the humor to come from character rather than from an effort to “play funny.” The transitions between comedy and tragedy are what make this play so compelling, and we leaned into those moments by focusing on emotional honesty.

JS: The play was written in the early 1990s during the AIDS crisis. How have you addressed the historical context while making the themes resonate with contemporary audiences?

AM: While the play is very much a product of its time, its themes remain deeply relevant. We approached the material with great respect for its historical context, ensuring that the weight of the AIDS crisis is felt without making it feel like a museum piece. The fears, hopes, and desires of these men are timeless, and I think audiences—regardless of age or background—will recognize aspects of themselves in the characters’ struggles and joys.

JS: Several characters in the play perform a ballet sequence from Swan Lake. What was your collaborative process with the actors, who may not have dance backgrounds, to realize these moments?

AM: Not everyone in the cast has dance experience, so we focused on storytelling through movement rather than perfect technique. The ballet sequence is about longing, beauty, and loss—it’s an emotional moment, not just a choreographed one. Our goal was to create something that feels authentic to these characters rather than a strictly polished performance.

JS: The play explores various forms of intimacy between men. How did you work with your actors to develop a sense of trust and vulnerability necessary for these scenes?

AM: Establishing trust was our top priority. We spent time in rehearsals discussing boundaries, comfort levels, and the emotional beats of each intimate moment. We also worked with an intimacy director to ensure that every scene was handled with care. The actors were incredibly generous with one another, and I think that openness is reflected in the performances. At its core, this play is about love and connection in its many forms, and we wanted those relationships to feel real and deeply felt.

JS: McNally’s work often examines the formation of chosen families. How does this production illuminate the ways these eight friends create community and support systems outside traditional family structures?

AM: The heart of Love! Valour! Compassion! is the idea that family isn’t just about blood—it’s about the people who stand by you through everything. This production highlights the messy, beautiful, and sometimes painful reality of chosen family. These men don’t always get along, they challenge each other, but at the end of the day, they show up for one another. That’s something that resonates deeply with audiences, whether they relate to the LGBTQ+ experience or not.

JS: Looking beyond the specific narrative, what universal themes do you hope will resonate most strongly with your audiences?

AM: Love, loss, friendship, and the passage of time—these are themes that transcend any one community. While this play is rooted in the gay experience of the 1990s, its core questions—How do we love? How do we cope with grief? How do we hold onto joy?—are universal. My hope is that audiences walk away feeling more connected to their own lives and relationships, reminded of how precious our time together really is.

JS: What has surprised you most about working with this text? What do you hope audiences will take away from the experience?

AM: Even though I’ve been familiar with Love! Valour! Compassion! for years, I’m still amazed by how fresh and relevant it feels. McNally’s writing is so rich that every rehearsal brought new discoveries. What surprised me most was how much laughter we found, even in the play’s heaviest moments—it’s a testament to the resilience of these characters. I hope audiences leave the theater with a full heart, having laughed, cried, and reflected on the people who make life worth living.

Performances are Fridays and Saturdays at 8:00pm, and Sundays at 2:00pm, with Saturday matinees at 2:00pm starting March 22, from Friday, March 14 through Saturday, April 5, 2025. Tickets are $25 with a $4 discount for seniors, children, students and military. The Westchester Playhouse is located at 8301 Hindry Avenue, Los Angeles, CA 90045. For more information, click here.